SKfilJM)  KDIT1DN 


SECOND  EDITION. 


HOW  TO  PAINT 

PHOTOGRAPHS 

IN 

WATER  COLORS. 

A  PRACTICAL  HANDBOOK  DESIGNED  ESPECIALLY 
FOE,  THE  USE  OF  STUDENTS  AND 
PHOTOGRAPHERS. 

CONTAINING  DIEECTIONS  FOR  BRUSH-WORK  IN  ALL 
DESCRIPTIONS  OF  PHOTO-PORTRAITURE. 

BY 

GEORGE  B.  AYRES, 

ARTIST. 


There  is  no  degree  of  talent  so  small  that  proper  instruction  may  not  develop  it. 


PHILADELPHIA: 
BEKEEMAN  &  WILSON. 
1  87  0. 


Entered  according  to  Act  of  Congress,  in  the  year  1869, 


By  BENERMAN  &  WILSON, 

In  the  Clerk's  Office  of  the  District  Court  of  the  United  States  for  the 
Eastern  District  of  Pennsylvania. 


CAXTON  PRESS  OF  SHERMAN  &  CO. 


PREFACE  TO  FIRST  EDITION. 


If  I  were  asked  to  give  a  reason  for  the  issue  of  this 
little  volume,  I  would  reply  that  I  believe  it  is  needed. 

I  have  undertaken  the  task  of  supplying  this  want — ap- 
propriating thereto  my  time  apart  from  professional  duties 
— only  because  it  has  not  been  done  by  some  brother  artist, 
perhaps  more  competent. 

The  field  is  already  somewhat  occupied,  but  I  claim  that 
the  few  books  now  to  be  had  are  not  sufficiently  practical, 
and  comprehensive  in  detail, — especially  for  beginners, — 
and  not  fully  applicable  to  the  present  advanced  status  of 
American  photograph}^,  and  the  corresponding  demand  for 
improvement  in  the  art  of  coloring. 

This  humble  effort  may,  doubtless,  contain  directions 
that  will  provoke  a  smile  from  full-fledged  and  experienced 
artists ;  but  let  it  be  remembered  that  its  contents  are  not 
designed  for  their  use  or  criticism. 

I  have  reason  to  believe,  however,  that  it  will  supply  a 
desideratum  in  the  study  of  art,  and  afford  great  assistance 
to  beginners  and  the  uninitiated  generally. 

G.  B.  A. 


PREFACE  TO  SECOND  EDITION. 


If  I  were  asked  to  give  a  reason  for  the  issue  of  the  Sec- 
ond  Edition  of  this  little  volume,  I  would  reply  that  it  is 

needed  ! 

The  extraordinary  sale  which  disposed  of  the  first  thou- 
sand within  three  months,  astonished  both  author  and  pub- 
lishers, and  furnished  the  most  gratif}dng  evidence  that 
their  united  labors  had  not  been  in  vain. 

Although  the  continued  demand  for  the  book  would  have 
justified  another  edition  of  it  immediately,  I  preferred  to 
delay  the  same,  in  order  to  revise  and  make  important  ad- 
ditions, which  I  believe  render  it  now  quite  complete.  It 
has  been  my  aim  to  leave  nothing  unwritten  which  I  be- 
lieved could  in  anywise  assist  the  student  in  the  attainment 
of  practical  ability. 

Many  topics  new  to  our  art  are  also  introduced,  and  other 
improvements  made,  which — together  with  its  general  ac- 
ceptability, as  indicated  by  the  sale  aforementioned— I  hope 
now  constitute  this  book  the  standard  manual  for  instruct- 
ing "  How  to  Paint  Photographs  in  Water  Colors." 

G.  B.  A. 


INTRODUCTION. 


No  booh  ever  made  a  painter,  or  ever  will.  Neither  can 
Art  be  taught  practically  by  books  ;  but  the  written  experi- 
ence of  others  may  lend  important  assistance  to  the  student 
who  undertakes  the  task  of  self-tuition.  This  is  particu- 
larly true  if  he  is  gifted  with  such  powers  of  perception  as 
enable  him  to  understand  the  instructions  which  are  pre- 
sented, without  any  further  aid. 

There  are  hundreds  of  instances, — especially  outside  the 
cities, — where  books  are  the  only  available  means  of  obtain- 
ing this  kind  of  information  ;  and  it  is  hoped  that  this  little 
work  will  be  found  sufficient  for,  and  meet  the  expectations 
of,  the  many  who  cannot  enjoy  the  additional  advantage  of 
a  teacher. 

Doubtless  there  are  photographers  in  many  parts  of  the 
country  who  have  orders  for  painted  and  retouched  work, 
but  who  have  not  the  opportunity  of  committing  their  pic- 
tures into  the  hands  of  regular  artists.  At  the  same  time 
they  may  themselves  be  possessed  of  a  degree  of  native 
genius  which  only  needs  direction  and  encouragement,  to 
enable  them  to  do  at  least  some  of  their  brush-work.  In- 
deed, there  is  no  good  reason  why  every  competent  photog- 
rapher, who  has  any  inherent  talent  and  aptness  for  picture- 


10 


INTRODUCTION. 


making,  should  not — in  addition  to  the  operations  of  the 
camera  and  dark-room — become  tolerably  proficient  to  do 
some  of  his  ordinary  coloring ;  and,  by  study  and  practice, 
a  considerable  proportion. 

"  Very  erroneous  ideas,"  writes  a  distinguished  painter, 
"  are  entertained  regarding  the  capability  of  the  mind  to 
acquire  correct  perceptions  of  color,  and  to  realize  them  in 
artistic  effects.  Too  much  is  ascribed  to  genius,  and  too 
little  to  study  and  perseverance.  Both  the  appreciation  of 
color  and  the  power  of  expressing  it  are  doubtless  attain- 
able by  education  ;  and  under  proper  direction,  the  laws 
relating  to  harmony  of  color  may  be  as  readily  understood 
and  practised  as  those  relating  to  perspective  when  repre- 
senting forms  without  color;  the  pursuit  demanding  nothing 
more  than  the  general  capabilities  required  in  the  study  of 
the  latter.  But  the  student  who  desires  to  attain  excel- 
lence, must  devote  his  time  and  labor  with  that  untiring 
energy  which  a  love  of  the  art  can  alone  excite." 

In  preparing  this  volume  we  have  assumed  that  the  ma- 
jority of  those  for  whose  use  and  improvement  it  is  more 
especially  designed,  have  no  desire  to  acquaint  themselves 
with  the  philosophical  minutiae  of  the  art  of  delineating  the 
human  countenance  and  form,  as  based  upon  the  true  art 
standpoint  of  an  original  creation  upon  white  paper.  The 
photographic  image,  already  provided,  obviates  this  neces- 
sity; and  hence  our  teachings  will  be  found  simple  and 
practical,  as  regards  the  separate  matter  of  Coloring, — 
whilst  we  leave  the  profounder  aspects  of  the  subject  to  be 
studied,  by  the  more  ambitious,  from  other  and  higher 
sources. 


INTRODUCTION. 


11 


Practical  photographers  are  not,  however,  the  only  per- 
sons to  be  assisted  by  this  book.  It  is  also  designed  for 
others  who  wish  to  essay  Photographic  Painting  as  a  recre- 
ation, or  to  pursue  it  as  a  livelihood.  The  country  is  full 
of  those  who  seek  instruction — especially  women ;  but  the 
inconvenience  and  expense  of  tuition  at  the  hands  of  com- 
petent instructors  (to  be  found  only  in  the  cities),  clearly 
proves  the  necessity  for  a  standard  booh  as  the  next  best 
means  of  gaining  the  desired  knowledge. 

To  such  it  is  believed  this  work  will  be  really  valuable ; 
and  our  sincere  hope  is  that  it  will  be  found  sufficiently 
plain,  practical,  and  comprehending  all  that  is  necessary  to 
render  this  delightful  study  easy, — furnishing  one  more 
stepping-stone  to  artistic  and  personal  advancement. 


Note. — We  have  not  deemed  it  to  be  inconsistent  with 
our  plan,  either,  to  introduce  the  brief  chapters  which  pre- 
cede the  List  of  Colors ;  since  a  knowledge  of  the  matters 
contained  therein  is  essential  to  an  intelligent  selection  of 
colors  and  handling  of  the  brush  afterwards.  But  as 
they  may  be  rather  abstruse  for  the  beginner,  a  thorough 
study  of  them  may  be  deferred  until  a  certain  degree  of 
labor  has  been  accomplished,  although  they  should  be  care- 
fully read  at  the  outset. 


j^OW  TO  j^AINT  j^HOTOGRAPHS. 


Classification  of  Colors. 

It  is  proposed  that  this  work  shall  serve  as  a  guide  to 
labor,  rather  than  an  index  to  philosophy — to  teach  the  stu- 
dent how  to  do,  without  cumbering  his  mind  with  the  reasons 
why. 

Hence,  it  will  be  expedient  only  to  briefly  record  here  cer- 
tain recognized,  important  and  interesting  facts  respecting 
the  nature  of  colors,  and  recommend  to  the  student  a  fur- 
ther and  more  complete  investigation  of  colors — their  qual- 
ities, and  innumerable  effects  of  contrast  and  harmony — as 
it  can  be  found  in  books  specially  devoted  to  this  subject. 


Notwithstanding  the  assertions  of  the  old  philosophies 
about  the  u  seven  primary  colors,"  there  are  indeed  but  three, 
viz., 

Red— Yellow— Blue, 

and  these  are  termed  Primary  (or  Simple)  colors,  because 
they  are  the  source  whence  all  others  are  derived  by  mix- 
ture. 

The  combination  of  any  two  of  these,  in  equal  parts,  pro- 

2 


14 


HOW  TO  PAINT  PHOTOGRAPHS. 


daces  another  class,  termed  Secondary  (or  Compound)  colors. 
Thus: 

Ked  and  Yellow  make  Orange, 
Yellow  and  Blue  make  Green, 
Blue  and  Red  make  Purple. 

A  further  combination,  in  pairs,  of  the  Secondary  produces 
a  third  class  designated  Tertiary  (or  Mixed)  colors.    Thus : 

Green  and  Orange- make  Citron,  or  Citrine, 
Orange  and  Purple  make  Russet, 
Purple  and  Green  make  Olive ; 

each  of  which  is  variously  compounded  of  the  three  original 
or  primary  colors — as  the  secondary  order  is  of  tivo — one  of 
the  primaries,  however,  predominating. 

A  fourth  class  may  be  added,  and  designated  Irregular 
Colors  ;  under  which  head  is  included  the  long  list  of  browns, 
grays,  various  neutral  tints,  drabs,  stone  colors,  etc.  These 
have  also  received  the  name  of  Semi-neutral  Colors. 

[glT3  It  will  be  observed,  that  whilst  each  combination 
of  two  primary  colors  produces  a  new  and  perfect  hue,  each 
subsequent  combination  tends  to  produce  neutrality ;  the 
neutral  tints  formed  partaking,  however,  more  or  less  of  the 
special  characteristics  of  the  primaries  to  which  they  are 
most  allied. 

White  and  Black,  which  most  completely  contrast  as  light 
and  darkness,  are  not  generally  regarded  as  colors:  White, 
as  the  representation  of  pure  daylight  in  its  undivided  state, 
being  supposed  to  represent  a  combination  of  all  colors ;  and 
Black,  like  darkness,  or  the  absence  of  both  color  and  light. 
However,  they  hold  an  important  place  in  almost  every  pic- 
ture, having  their  own  effect,  when  in  combination  with  other 
colors. 

Normal  Gray,  is  black  mixed  with  white  in  various  pro- 
portions, producing  numerous  tones  of  pure  gray.  Grays 


COMPLEMENTARY  COLORS. 


15 


also  result  from  the  mixture  of  all  three  primaries  in  various 
proportions,  and  these  are  designated  Colored  grays. 

Complementary  Colors. 

The  mixture  of  any  two  of  the  primary  colors,  forming  a 
secondary,  this  secondary  is  complementary  to  the  remain- 
ing primary  color.  Thus, 

Orange  produced  by  Red  and  Yellow,  is  complementary  to  Blue  ; 
Green,         "  Yellow  and  Blue,     "       «       "  Red; 

Purple,        "  Blue  and  Red  "       "       "  Yellow. 

The  combination  of  any  two  secondary  colors  will  produce 
a  tertiary,  which  is  complementary  to  the  remaining  secon- 
dary. Thus, 

Citrine,  produced  by  Orange  and  Green,  is  complementary  to  Purple  ; 
Olive,  "  Green  and  Purple,       41       "       "  Orange; 

Russet,         "  Purple  and  Orange,     "       "       "  Green. 

These  combinations  may  be  carried  to  an  almost  unlim- 
ited extent,  with  similar  results ;  for  this  relation  of  colors 
is  not  arbitrary,  nor  the  result  of  taste  or  fancy ;  but  it  is 
founded  upon  absolute  inherent  principles,  which  exist  as  a 
physical  necessity  of  the  organs  of  vision. 

Black  and  White  are  also  to  be  regarded  as  complemen- 
tary to  each  other. 

We  have  thus  far  explained  the  term  "  complementary  " 
with  reference  only  to  colors  in  their  primary  signification — 
treating  red,  yellow  and  blue  without  regard  to  the  various 
gradations  of  hue  which  each  color  possesses.  But  the  prin- 
ciple which  governs  the  relations  of  the  simple  primaries 
applies  also  to  every  variety  and  combination  of  tint ;  and 
which  could  be  multiplied  by  gradations  so  delicate  that  it 
would  be  impossible  to  enumerate  them. 

The  following  diagram  of  the  complementary  relations 
of  colors  is  furnished  as  a  ready  reference  for  the  student, 
and  is  subdivided  far  enough  for  all  ordinary  purposes. 


16 


HOW  TO  PAINT  PHOTOGRAPHS. 


%£§^*The  complementary  of  each  color  will  be  found  in  the 
angle  directly  opposite :  whilst  it  will  be  observed  that  each 
pair  yields  a  harmonious  balance  of  three  primary  colors. 


Contrast. 

Contrast  is  the  source  of  all  character  and  effect  in  color, 
as  in  every  other  division  of  the  art.  No  tint  will  appear 
very  bright  unless  set  off  by  an  opponent,  and  by  this  treat- 
ment, effect  may  be  given  to  any  color ;  but  the  shadows 
must  all  partake  of  the  same  negative  tone,  and  that  should 
be  the  natural  antagonist  of  the  general  hue  of  the  light, 
which  again  must  be  gently  diffused  over  local  colors,  in 
order  to  tinge  with  the  same  atmosphere,  and  give  truth 
and  union  to  the  whole. 

The  subject  of  Contrast  embraces  two  principal  heads: 
Contrast  of  Color,  and  Contrast  of  Tone,  or  intensity. 


CONTRAST  OF  COLOR — CONTRAST  OF  TONE. 


17 


Contrast  of  Color. 

By  this  it  is  meant  that,  complementary  colors  placed  in 
juxtaposition  mutually  enrich  each  other;  and  from  the 
same  cause,  neutral  tints  placed  in  juxtaposition  with  full 
hues  appear  to  be  tinged  with  the  complementary  color  of 
such  hues.  The  converse  is  equally  true:  that  colors  not 
complementary  to  each  other  are  mutually  injured  by  con- 
tact. It  is  obvious,  therefore,  that  neutral  tints  placed  in 
contact  with  full  hues,  should  incline  to  the  complementary 
of  such  hues,  in  order  to  produce  the  best  effect. 

Contrast  of  Tone. 

Results  from  placing  side  by  side  two  tints  of  the  same 
color,  but  of  different  degrees  of  intensity  or  depth ;  from 
which  the  deep  tint  will  appear  still  deeper,  and  the  light 
tint  still  lighter — the  difference  in  intensity  appearing 
greatest  at  the  points  of  contact.  All  colors  gain  depth  by 
contact  with  White,  the  white  assuming  the  complemen- 
tary tint  of  the  color  near  to  it ;  whilst  Black  has  the  effect 
of  weakening  colors  contiguous  to  it.  The  juxtaposition 
of  Gray,  which  is  a  mixture  of  white  and  black,  gives  bril- 
liancy to  all  pure  color. 

Therefore,  the  student  will  see  that  he  has  the  power  of 
changing  the  characteristics  of  pigments  by  simple  juxta- 
position ;  he  can  either  enhance  the  value  of  both,  or  sacri- 
fice one  and  exalt  the  other;  and  in  cases  where  a  pleasing 
ensemble  is  not  presented  by  his  model,  he  can  adapt  the 
colors  he  is  at  liberty  to  choose  to  those  which  are  inherent 
in  the  model,  so  as  to  arrive  at  a  satisfactory  and  harmoni- 
ous effect. 

Without  pursuing  this  subject  beyond  the  limits  of  these 
general  principles — (as  we  might,  and  show  that  an  infinity 
of  pleasing  results  can  be  obtained  by  the  judicious  arrange- 
ment of  analogous  tints  in  harmonious  relations) — the  stu- 

2* 


18 


HOW  TO  PAINT  PHOTOGRAPHS. 


dent  is  advised  to  a  further  examination  of  those  works 
which  treat  upon  the  science  of  colors,  minutely  and  philo- 
sophically. For  this  reason,  space  has  not  been  occupied 
to  explain  why  these  things  are  so ;.  it  is  our  aim  to  make 
this  book  a  simple  guide  to  practical  working,  and  not  an 
exposition  of  philosophical  color-mysteries. 

Peculiar  Characteristics  of  Colors. 

The  primary  colors  are  suggestive  of  various  ideas,  ac- 
cording to  particular  circumstances.  Thus,  painters  have 
agreed  to  call  red  and  yellow  and  their  mixtures  warm — 
giving  notions  of  light  and  heat.  They  also  come  near  the 
eye,  and  are  less  impaired  by  distance  than  any  other  colors ; 
yellow  less  than  red,  and  green  less  than  purple. 

Eed  is  the  most  powerful,  distinct,  and  exciting  of  all  col- 
ors; stimulates  the  eye,  and  predominates  over  all  colors 
designated  warm. 

Yellow  is  the  primary  most  closely  allied  to  light. 

Blue,  and  those  tints  of  which  the  larger  portion  is  blue, 
suggests  an  idea  of  coldness,  and  distance. 

Of  the  Secondaries :  Orange  being  the  most  luminous  is 
the  most  striking  and  prominent;  the  connecting  link  of 
harmonizing  color  between  yellow  and  red. 

Green  is  generally  considered  the  mean  between  orange 
and  purple,  thus  taking  position  between  light  and  shade. 
It  is  the  most  soothing  and  refreshing,  although  a  prepon- 
derance of  it  is  scarcely  ever  truly  pleasant. 

Purple,  coolest  and  darkest  of  the  secondaries,  partakes 
considerably  of  the  retiring  qualities  of  its  chief  primary, 
blue.  Next  to  green  it  is  the  least  fatiguing  to  the  e}^e; 
and  its  various  compounds  afford  most  of  the  colored  grays. 

The  plan  most  generally  adopted  is,  that  the  warm  colors 
should  always  be  placed  at  the  front ;  as  having  a  tendency 
to  impress  the  eye  more  strongly,  or  to  come  more  promi- 
nently forward  than  the  colder  colors ;  but  union  and  har- 


PECULIAR  CHARACTERISTICS  OF  COLORS.  19 


mony  require  that  some  intermixture  of  warm  color  should 
be  put  in  the  background,  and  of  cold  into  the  front. 

The  lighter  colors  also  brighten  those  of  a  deeper  kind ; 
as  white,  or  yellow,  put  with  red  or  bine,  renders  these  more 
lively.    If  intermixed  with  them,  it  diminishes  their  depth. 

There  are  also  colors  which  diminish  each  other's  effect, 
and  deaden  a  neighboring  one ;  others  again  raise  the  force 
of  those  with  which  they  are  combined— as  white  heightens 
the  rose-tint  of  the  face,  and  as  a  red  turban  would  suit  an 
Ethiopian. 

Colors  also  suit  each  other  from  thp  one  being  warm  and 
the  other  cold ;  as  red  and  blue,  orange  and  blue,  brown  and 
blue ;  and  yet  two  colors  sometimes  narmonize  with  each 
other,  as  blue  and  white,  when  both  are  cold. 

White  increases  the  intensity  of  black  by  contrast,  as 
black  adds  to  the  brilliancy  and  distinctness  of  white ;  and 
though  white  makes  a  red  face  look  redder,  it  increases  the 
paleness  of  a  pale  complexion.  Black,  too,  has  a  similar 
effect. 

Some  colors  disagree  from  their  being  positive  discords ; 
some  fail  to  accord  with  each  other  from  their  tones  being 
of  unequal  intensity,  some  from  their  proportions  in  quan- 
tity being  too  much  disregarded ;  and  some  from  wanting 
another  color  to  complete  the  harmonious  combination. 


As  an  appropriate  and  entertaining  conclusion  to  the  en- 
tire subject  of  the  relations  and  harmonies  of  colors,  we  ap- 
pend the  following  lines,  which  aptly  embody  the  principles 
contained  in  this  division  of  study.  Versification  being  an 
acknowledged  help  to  memory,  the  ideas  contained  in  these 
lines  may  be  easily  caught  and  kept  ever  present  in  the 
student's  mind. 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  Relations  and  Harmonies  of  Color. 

BY  HENRY  HOPLEY  WHITE,  ESQ. 

Blue — Yellow — Red — pure  simple  colors  all 

(By  mixture  unobtained)  we  Primaries  call ; 

From  these  in  various  combinations  blent, 

All  other  colors  trace  their  one  descent. 

Each  mixed  with  each — their  powers  combined  diffuse 

New  colors — forming  Secondary  hues  : 

Yellow  with  red  makes  Orange,  with  blue — Green, 

In  blue,  with  red  admixed  is  Purple  seen. 

Each  of  these  hues  in  Harmony  we  find, 

When  with  its  complementary  combined; 

Orange  with  blue,  and  green  with  red,  agrees, 

And  purple  tints,  near  yellows,  always  please. 

These  secondaries  Tertiaries  produce, 

And  Citrine — Olive — Russet  introduce : 

Thus  green  with  orange  blended  forms  citrine, 

And  olive  comes  from  purple  mixed  with  green ; 

Orange,  with  purple  mix'd,  will  russet  prove  j 

And,  being  subject  to  the  rule  above, 

Harmonious  with  each  tertiary  we  view 

The  complemental  secondary  hue : 

Thus  citrine — olive — russet  harmonize 

With  purple — orange — green,  their  true  allies. 

These  hues,  by  white  diluted,  Tints  are  made, 

By  black  are  deepened  into  darkest  Shade. 

Pure  or  combined,  the  primaries  all  three, 

To  satisfy  the  eye,  must  present  be ; 

If  the  support  is  wanting  but  of  one, 

In  that  proportion  harmony  is  gone  : 

Should  red  be  unsupported  by  due  share 

Of  blue  and  yellow  pure — combined  they  are 

In  green — which  secondary,  thus  we  see, 

The  harmonizing  medium  of  all  three. 

Yellow  for  light  contrasts  dark  purple's  hue, 

Its  complemental,  form'd  of  red  and  blue. 

Ked  most  exciting  is — let  Nature  tell 

How  grateful  is,  and  soothing,  green's  soft  spell. 


PORTRAITURE. 


21 


So  blue  retires — beyond  all  colors  cold, 

While  orange  warm — advancing  you  behold. 

The  union  of  two  primaries  forms  a  hue, 

As  perfect  and  decided  as  'tis  new ; 

But  all  the  mixtures  which  all  three  befall 

Tend  to  destroy  and  neutralize  them  all ; 

Nay,  mix  them — three  parts  yellow — five  of  red 

And  eight  of  blue — then  colors  all  are  fled. 

When  primaries  are  not  pure — you'll  surely  see, 

Their  complementals  change  in  due  degree  ; 

If  red  (with  yellow)  to  a  scarlet  tend, 

Some  blue  its  complemental  green  will  blend; 

So  if  your  red  be  crimson  (blue  with  red), 

Your  green  with  yellow  would  be  varied ; 

If  yellow  tends  to  orange,  then  you  find 

Purple  (its  complement)  to  blue  inclined ; 

But  if  to  blue  it  leans,  then  mark  the  change, 

Nearer  to  red  you  see  the  purple  range. 

If  blue  partakes  of  red — the  orange  then 

To  yellow  tends  ;  if  yellowish — you  ken 

The  secondary  orange  glows  with  red. 

Eeader,  farewell !  my  lesson  now  is  said. 

Portraiture. 

Likeness  is  the  very  essence  of  portraiture.  Whatever 
may  be  the  artistic  merits  of  a  painting  which  is  intended 
to  represent  the  countenance  and  figure  of  a  valued  friend, 
its  greatest  perfection  must  exist  in  its  correct  likeness. 
Our  personal  affections  will  always  bid  defiance  to  any 
rivalry  from  art;  and  hence  an  ordinary,  but  correct,  por- 
trait will  elicit  our  admiration  and  love,  whilst  one  lacking 
this  essential  point  would  be  disregarded. 

There  is  not  one  person  in  the  world  who  has  not  a  par- 
ticular characteristic  both  in  face  and  body.  This  will  be 
patent  in  the  drawing  of  the  photograph  itself;  and  while 
the  camera  produces  nature  truthfully — perhaps  too  much 
so  for  mortal  vanity  in  general — the  artist's  office  is  to  im- 
part life  and  color.  To  adorn  nature  too  much  is  doing  a 
violence.    We  can  imitate  her  with  sufficient  exactness, 


22 


HOW  TO  PAINT  PHOTOGRAPHS. 


however,  and  still  perceive  and  comply  with  what  is  advan- 
tageous in  art. 

It  is  scarcely  proper  to  undertake  the  coloring  of  a  pho- 
tographic portrait  without  first  seeing  the  original;  or  if 
that  is  impossible,  of  ascertaining  fully  the  principal  colors 
to  be  used.  Owing  to  the  shade  of  blackness  with  which 
the  various  colors  "  take,"  the  photograph  itself  gives  very 
little  or  no  indication  on  many  points.  Therefore,  if  prac- 
ticable, secure  a  lock  of  the  hair  ;  understand  by  an  inter- 
view with  the  original,  or  from  the  remembrance  of  others, 
the  exact  color  of  the  eyes  ;  kind  of  complexion ;  defects  or 
peculiarities  of  countenance  and  figure;  what  alterations 
and  corrections  are  desired ;  colors  for  the  drapery ;  what 
sort  of  jewelry,  et  cetera.  In  short,  remember  that  knowl- 
edge and  a  full  understanding  of  the  subject  makes  work 
pleasant  and  easy ;  and  he  who  knows  the  road  gets  to  his 
journey's  end  with  more  speed  and  certainty  than  he  who, 
through  ignorance  or  carelessness,  gropes  it  out. 

In  accomplishing  a  photo-portrait,  the  student  should 
keep  in  mind  a  union  of  the  true  and  the  beautiful.  How- 
ever correctly  the  camera  may  have  attained  the  former,  it 
has  not  intelligence  to  discriminate  and  perfect  the  latter. 
The  student  should  derive  from  his  subject  a  feeling  pecu- 
liar to  the  work  before  him.  He  must  not  paint  all  alike, 
and  should  avoid  the  fault  of  mannerism.  In  painting 
children's  pictures,  for  instance,  he  will  rather  feel  at  liberty 
to  idealize  them — to  make  them  appear  somewhat  beautiful 
and  picturesque  whether  they  are  so  or  not — and  this  license, 
to  a  certain  degree,  may  be  extended  also  to  pictures  of 
women,  unless  the  photograph  should  render  it  impossible. 
With  men's  faces,  on  the  contrary,  the  feeling  should 
change ;  inspiration  for  the  beautiful  should  give  place  to 
zeal  for  the  delineation  of  vigor  and  strength — giving  a 
true  portrait  while  portraying  a  distinct  character. 

It  may  be  remarked  that  the  power  of  masculine  expres- 


PORTRAITURE. 


23 


sion  lies  in  the  forehead,  the  under  lip,  the  chin,  and,  of 
course,  in  the  graver  language  of  the  eye.  The  sweetness 
of  the  feminine  graces  resides  in  the  mouth  and  eyes ;  es- 
pecially at  the  exterior  corners  of  and  below  the  eyes,  at 
the  corners  of  the  mouth,  and  in  the  play  of  the  lower  lip. 
To  hit  the  happy  medium  in  the  distinctive  treatment  of 
masculine  and  feminine  faces  is  perhaps  the  greatest  excel- 
lence in  the  art.  In  the  former,  the  student's  aim  should  be 
to  maintain  that  quality  of  intelligence  which  is  distinctive 
of  the  original,  without  falling  into  severity ;  in  the  latter, 
the  object  should  be  to  endow  the  photographic  representa- 
tion with  vitality  and  sweetness,  without  carrying  his  work 
beyond  the  reasonable  limits  of  delicacy  and  beauty. 

A  little  experience  in  photographic  painting  will  also  in- 
troduce to  the  beginner  a  class  of  persons  who  may  insist 
upon  the  correctness  of  the  camera,  and  wish  to  be  painted 
as  they  are — (or,  as  Cromwell  said,  u  Paint  me  as  I  am ; 
warts,  wrinkles,  and  all!") — desiring  no  changes,  and  wish- 
ing to  see  their  veritable  selves  without  flattery  or  qualifi- 
cation. It  may  not  be  improper,  however,  to  intimate  that 
these  persons  will  be  found  "  indifferent  honest"  after  all; 
and  that  where  the  artist's  better  judgment  suggests  im- 
provement which  shall  not  impair  the  likeness  as  a  whole, 
it  will  not  be  complained  of  as  objectionable. 

While  the  license  of  art,  however,  permits  a  representa- 
tion as  favorable  as  possible  to  the  original,  there  is  yet  a 
limit  to  this  complimentary  work  which  should  be  defined 
by  the  peculiarities  of  each  case.  In  instances  of  personal 
imperfection,  if  a  sufficient  portrait  can  be  preserved  with- 
out signalizing  the  natural  blemishes  which  the  relentless 
camera  has  reproduced,  it  is  consistent  with  the  rules  of 
legitimate  practice  to  subdue  them ;  but  this  must  be  done 
with  great  discretion,  for  they  often  comprise  the  very 
climax  of  individuality.  Hollow  cheeks,  a  long  mouth,  a 
protruding  under  lip,  angular  shoulders  and  elbows,  bony 


2i 


HOW  TO  PAINT  PHOTOGRAPHS. 


hands,  &c,  will  too  frequently  demand  subjection  to  more 
agreeable  shape. 

It  may  also  sometimes  occur  that  alterations,  which  are 
demanded  by  every  principle  of  correct  art,  cannot  be  made, 
and  should  not  be  attempted,  unless  after  consultation  with 
those  who  are  to  receive  the  finished  work.  This  will  be 
found  more  especially  the  case  in  reproducing  old  pictures : 
these  very  faults  which  may  appear  rather  hideous  to  our 
more  artistic  eyes,  have  become,  in  time,  part  and  parcel  of 
the  picture  itself;  and  nothing  different  from  an  exact  copy 
of  the  long-looked-at  original  would  be  satisfactory.  Yery 
often,  too,  the  original  will  prove  to  have  been  so  badly 
taken  that  it  does  not  furnish  sufficient  basis  for  much  work 
according  to  art;  in  which  case  the  student  will  perceive 
that  his  touches  must  be  few,  but  correct,  and  that  just  as 
soon  as  the  likeness  is  reached,  his  labor  on  the  face  must 
cease.  Unfortunately,  the  deficiency  of  knowledge  among 
a  majority  of  the  daguerreotypists  of  a  former  day,  has  been 
the  cause  of  much  trouble  of  this  kind  to  the  photograph 
painters  of  the  present. 

Jgigf*  The  propriety  of  the  above  chapter  on  the  subject  of  Por- 
traiture may  not  have  been  at  once  apparent — this  work  being  de- 
signed as  a  guide  to  the  painting  of  photog?*aphs ;  and  particularly 
when  it  is  remembered  that  the  portrait  has  already  become  a  fixed 
fact  by  the  operation  of  the  camera  in  the  hands  of  the  photographer. 
It  is  also  true  that  ignorance  of  the  art-elements,  in  producing  the 
photographic  image,  cannot  be  atoned  for  by  any  superior  intelligence 
of  the  painter.  But  certain  emergencies  must  be  provided  for,  and 
the  student  will,  as  he  progresses,  find  it  to  be  actually  necessary  to 
possess  himself  with  knowledge  on  the  subject  of  portraiture,  perhaps 
much  beyond  these  cursory  observations  ;  that  is,  if  it  is  his  purpose 
to  accomplish  fully  and  satisfactorily  the  art  of  photo-portrait  paint- 
ing. 

List  of  Colors. 

The  Water  Colors  used  in  the  operation  of  painting  a 
photograph  should  be  selected  with  care,  and  from  those 


LIST  OF  COLORS. 


25 


known  to  be  of  superior  manufacture.  Each  one  should  be 
a  good  type  of  the  pigment,  for  they  not  only  differ  as  pre- 
pared by  different  colormen,  but  even  from  the  same  house 
at  various  times. 

The  number  of  colors  to  be  employed  will,  of  course,  de- 
pend much  upon  the  option  and  the  ability  of  the  student. 
Certain  colors  are  at  once  indispensable,  whilst  others,  of  a 
secondary  importance,  can  be  procured  as  his  knowledge  in- 
creases and  the  desire  or  necessity  occurs. 

Those  which  may  be  regarded  as  essential  at  the  very  be- 
ginning, and  of  constant  and  important  use  in  all  the  future, 
are  as  follows : 


Burnt  Sienna, 
Chinese  White, 
Cobalt  Blue, 
Crimson  Lake, 
French  Blue, 
India  Ink, 
Indigo, 
Indian  Ked, 
Indian  Yellow, 
Yellow  Ochre, 


Lampblack, 
Neutral  Tint, 
Pink  Madder, 
Haw  Sienna, 
Scarlet  Vermilion, 
Sepia, 

Vandyke  Brown, 
Venetian  Ked. 
Vermilion. 


The  colors  which,  in  time,  become  desirable  for  use,  and 
whose  effect,  in  some  instances,  no  mixture  of  those  above- 
mentioned  will  exactly  produce,  are  as  follows : 

Orange  Chrome, 
Olive  Green,* 
Prussian  Blue, 


Bistre, 

Brown  Pink,* 
Burnt  Umber, 
Cadmium  Yellow,* 
Carmine,* 
Dragon's  Blood,* 
Emerald  Green,* 
Flake  White, 
Gamboge, 
Lemon  Yellow,* 
Light  Ked, 
Madder  Brown, 


Prussian  Green,* 
Purple  Lake,* 
Purple  Madder,* 
Kaw  Umber, 
Koman  Ochre, 
Koman  Sepia, 
Kose  Madder,* 
Scarlet  Lake.* 


26 


HOW  TO  PAINT  PHOTOGRAPHS. 


Colors  marked  thus  (  *  )  are  valuable  for  convenience, 
and  for  the  obtaining  of  special  results.  There  are  also 
other  pigments  commonly  known  and  often  used,  but  of 
doubtful  character  as  to  permanency  and  working  qualities, 
and  therefore  not  competent  to  our  purpose. 

In  addition  to  colors,  the  student  should  be  provided  with 
hard  and  soft  pastel,  colored  and  gray ;  and  some  colored 
pencils  {Greta  Lavis)  in  cedar  wood. 

JS®3"  It  may  be  well  also  to  advise  that,  as  the  cakes  of  color  lose 
somewhat  of  their  freshness  by  constant  exposure  to  the  air  and  light, 
becoming  dry  and  easily  crumbled,  they  should  be  kept  in  a  covered 
box.  One  that  is  flat  answers  best,  and  should  have  a  hinged  lid  for 
convenience. 

JElrusJies  and  Implements. 

Sable  brushes  are  not  only  the  best  adapted  to  water  color 
painting,  but  indispensable  to  the  production  of  good  work. 
Sables  are  made  of  black  and  red  hair,  the  former  being 
held  in  regard  for  having  better  points,  carrying  the  color, 
and  working  more  freely ;  and  the  latter  for  possessing 
greater  stiffness,  and  capacity  for  working  when  body-color 
is  used. 

Compared  with  these,  camel-hair  brushes  are  worthless ; 
although  it  is  desirable  to  have  a  few  of  large  size  for  use  in 
broad  washes  where  smoothness  is  required ;  but  they  are 
deficient  in  the  elasticity  requisite  for  other  purposes.  A 
fiat  camel-hair  brush,  in  tin,  is  also  a  useful  and  necessary 
implement ;  not  only  for  laying  broad  washes  of  color,  but 
for  damping  the  paper,  when  necessary,  before  washing ;  as 
well  as  for  softening,  where  the  effects  may  be  too  harsh  and 
heavy. 

It  is  vastly  preferable  to  use  brushes  which  have  the  hair 
inserted  in  ferrules  instead  of  quills,  on  account  of  their 
not  being  liable  to  split, — a  fault  rather  common  to  quill 
brushes, — while  they  also  derive  much  value  from  the  cir- 


BRUSHES  AND  IMPLEMENTS. 


27 


cumstance  that  tlio}T  admit  of  being  made  so  effective  in  a 
broad  fiat  shape,  and  well  adapted  to  working  backgrounds, 
skies,  foliage,  etc. 

In  the  purchase  of  brushes,  test  them  by  dipping  into 
clean  water,  and  see  that  they  readily  come  to  a  point,  and 
have  no  straggling  hairs  about  them.  Good  sable  brushes, 
when  completely  filled  with  water,  will  allow  }rou  to  suddenly 
fling  off  the  water,  and  instantly  spring  back  again  to  a 
straight  point.  In  working,  all  brushes,  whether  round  or 
flat,  should  return  to  their  original  shape  after  every  stroke. 

Be  particular  to  obtain  good  brushes,  for  superior  work 
cannot  be  produced  with  inferior  ones.  In  time  the  original 
point  will  become  blunt  from  constant  use,  and  unfit  for 
manipulating  the  finer  touches ;  but  it  will  yet  be  found 
well  adapted  to  different  grades  of  stippling,  and  for  the 
larger  handling. 

It  is  recommended  as  a  general  thing,  that  the  student 
should  cultivate  a  disposition  to  use  the  larger-sized  brushes, 
as  far  as  his  work  renders  it  practicable,  in  order  that  he 
may  acquire  freedom  of  breadth  and  firmness  of  touch ; 
avoid  mincing,  and  a  harsh,  line-like  manner  in  his  work. 

Palette,  etc. — Palettes,  and  tiles  with  divisions,  made 
of  chinaware  can  be  purchased,  and  will  be  found  conveni- 
ent. It  is  also  desirable  to  have  a  number  of  small-sized 
smooth  white  plates,  or  saucers,  in  which  to  mix  the  larger 
washes.  In  the  absence  of  all  these  a  common  white  plate 
will  answer. 

Do  not  use  glass,  for  this  is  too  smooth  to  grind  off  the 
color  ;  and  being  transparent,  it  prevents  one  from  judging 
the  exact  shade  of  color  wanted. 

Other  Implements. — It  is  necessary  to  have  a  flat  Draw- 
ing Board,  upon  which  to  fasten  the  card-mounted  photo- 
graph. The  most  convenient  method  of  doing  this,  for  the 
smaller  sized  pictures,  is  with  Thumb  Tacks.  The  Board 
should  be  made  of  well-seasoned  wood,  entirely  free  of 


28 


HOW  TO  PAINT  PHOTOGRAPHS. 


knots,  and  is  essential,  whether  the  work  be  done  at  an 
Easel  or  upon  a  table.  The  Board  should  have  its  corners 
perfect  right  angles,  and  its  edges  true,  so  that  in  using  the 
Square,  the  lines  will  be  thoroughly  and  geometrically  cor- 
rect. 

If  the  desk  or  table  be  preferred  to,  or  more  convenient 
than  the  easel,  a  piece  of  clean  paper  should  be  kept  over 
the  lower  part  of  the  work,  on  which  to  rest  the  hand  and 
forearm  whilst  painting;  otherwise,  it  may  become  greased 
or  soiled  by  the  hand  (especially  in  warm  weather)  and  not 
receive  the  color  well. 

It  is  best,  however,  to  use  the  Easel,  and  to  support  and 
steady  the  hand  upon  a  flat  ruler  or  a  Rest- Stick.  This  posi- 
tion is  not  only  more  healthy  than  any  other,  but  it  enables 
the  student  to  see  more  of  his  work.  Instead  of  leaning 
over  the  picture  if  it  be  upon  a  table,  it  can  be  brought  close 
to  the  eyes,  whilst  between  the  legs  of  the  easel  it  does  not 
interfere  with  an  erect  position.  It  also  permits  the  work 
to  be  placed  at  an  easy  inclination  and  whatever  height  is 
necessary  —  advantages  not  to  be  overlooked  when  very 
large  pictures  are  to  be  taken  in  hand.* 

A  Flat  Ruler,  a  Right  Angle,  a  f  Square  with  bevel 
head ;  together  with  a  Ruling  Pen  ,  and  Compasses  (di- 
viders) with  pen  and  pencil  shanks — are  all  necessary  in- 
struments for  drawing  in  panelled  backgrounds,  columns, 

*  In  my  own  practice  I  use  an  easel,  sit  in  a  strong  arm-chair,  and 
have  my  materials  upon  a  small  table  at  the  right  side.  By  this  I 
not  only  secure  the  good  posture  and  facilities  which  the  easel  affords, 
but  an  advantage  of  the  table  also  ;  for,  in  making  large  washes,  rub- 
bing on  pastel,  or  doing  anything  that  requires  horizontal  support,  I 
rest  the  bottom  of  my  drawing-board  on  the  arms  of  the  chair  and 
the  top  on  the  easel-pins,  thereby  obtaining  whatever  inclination  of  my 
work  is  necessary.  The  flat  ruler,  say  three  feet  long  and  two  inches 
wide,  laid  across  the  easel-pins,  makes  an  excellent  support  for  the  arms 
during  the  tedious  stippling,  etc.,  on  small-sized  work. — G.  B.  A. 


GUM- WATER  AND  OX-GALL. 


29 


doors,  windows,  balustrades,  and  other  accessories  which 
require  mathematical  and  architectural  precision. 

An  Eraser,  India- Rubber  (white  preferred)  and  a  Crayon 
Stump,  suggest  their  uses  respectively.  A  small  Spatula  or 
palette-knife  will  be  found  most  convenient  for  reducing  and 
mixing  the  shades  of  pastel.  A  Magnifying  Glass  of  some 
kind  is  almost  indispensable,  not  only  to  assist — and  conse-  * 
quently  save — the  eyesight  in  minute  working ;  but  also  to 
serve  for  the  examination  of  originals,  when  indistinct  or 
very  small,  of  which  a  copy  is  to  be  painted  or  retouched. 
The  magnifier  should  be  of  a  good  size,  and  provided  with 
a  handle  so  as  to  be  held  conveniently  with  the  left  hand 
while  working.  In  coloring  Porcelains,  it  can  be  made  par- 
ticularly serviceable,  facilitating  the  operation,  and  afford- 
ing an  easy  means  of  producing  exquisite  fineness. 

Gum- Water  and  Ox- Gall. 

In  addition  to  colors,  brushes,  etc.,  it  will  be  necessary 
to  have  some  gum  arabic,  in  solution,  for  use  in  improving 
the  deep  shadows  of  all  draperies,  and  other  purposes. 
Although  a  variety  of  things  are  used  for  this  result,  gum 
Arabic  is  the  best  adapted  for  general  use  with  water  colors. 
It  does  not  degrade  the  more  delicate  pigments,  and  yet 
bears  out  the  colors  well. 

The  strongest  gum-water  ever  necessary,  may  consist  of 
one  part  gum  and  three  parts  of  pure  water,  though  it  may 
be  used  much  weaker.  Gum  should  not  be  mixed  with 
water  containing  any  mineral  properties.  The  solution  can 
be  preserved  for  use  by  the  addition  of  a  small  portion  of 
the  carbonate  of  ammonia ;  one  scruple  of  the  powdered 
carbonate  to  an  ounce  of  the  gum,  dissolved  by  maceration 
in  two  or  three  ounces  of  cold  water. 

As  will  be  learned  hereafter,  the  gum-solution  is  not  to  be 
applied  until  the  coloring  is  finished,  and  then  sparingly,  as 

8* 


30 


HOW  TO  PAINT  PHOTOGRAPHS. 


an  excess  of  it  is  likely  to  crack,  and  it  also  gives  a  vulgar 
effect. 

 <x>  

The  process  of  making  pictures  on  Albumenized  paper  has 
become  so  universal  among  photographers,  that,  unless  spe- 
cial directions  are  given  (or  it  is  previously  understood  that 
the  picture  is  to  be  painted)  they  are  never  made  upon  what 
is  designated  "  plain  "  (or  not  albumenized)  paper.  Hence, 
if  the  photograph  in  hand  be  one  of  the  former  description, 
it  will  be  found  that  the  water-color  will  neither  sink  into, 
nor  even  flow  upon,  the  albumenized  surface.  To  remedy 
this  difficulty,  Prepared  Ox-Gall  may  be  used  to  "kill  the 
grease ; "  and  it  is  necessary  to  mix  but  very  little  with  the 
colors  to  effect  the  purpose.  A  simple  dip  of  the  tip  of  your 
brush  into  the  preparation  will  suffice. 

Whilst  it  is  indispensable  in  washes,  it  is  not  necessary 
for  color  which  is  to  be  stippled  on.  Never  use  it  in  color 
intended  for  "  plain  paper."  |Cgr"  Wash  the  brushes  well 
after  working  with  ox-gall. 

Pure  Water. 

It  is  essential  to  use  water  that  is  entirely  free  from  in- 
gredients that  would  be  hazardous  to  the  purity  and  per- 
manency of  the  colors.  In  all  hard  and  impure  waters  the 
colors  are  disposed  to  separate  and  curdle,  so  that  it  is  often 
impossible  a  clear  flowing  wash  or  gradation  of  color  can  be 
obtained  with  them.  The  purest  and  best  for  the  purpose 
are  distilled  and  rain  waters,  by  the  use  of  which  all  chemi- 
cal action  is  avoided. 

Water- Color  Varnish. 

In  order  to  guard  against  injury  by  accidental  deface- 
ment, or  any  changes  likely  to  occur  by  the  action  of  the 
atmosphere,  upon  some  of  the  most  important  and  neces- 


ARRANGEMENT  OF  THE  LIGHT. 


31 


sary  colors  employed  in  photographic  painting,  the  pro- 
priety of  obtaining  an  unobjectionable  varnish  for  this  pur- 
pose engaged  the  attention  of  the  most  eminent  colorists. 

After  a  variety  of  experiments,  Mr.  F.  A.  Wenderoth,  a 
distinguished  Philadelphia  artist, — to  whom  the  profession 
is  already  indebted  for  important  discoveries — succeeded 
in  composing  the  Varnish  which  bears  his  name,  and  which 
unites  the  requisite  and  desirable  qualities  sought. 

This  preparation,  if  rightly  applied,  secures  the  painting 
against  detriment  by  water,  acids,  and  atmosphere,  without 
attacking  the  opacity  of  the  paper  or  giving  a  perceptible 
gloss.  In  cases  also  where  the  surface  of  the  paper  has  been 
injured  by  rubbing,  a  little  of  this  varnish  first  applied  will 
permit  the  colors  to  be  used  without  spreading.  It  is  color- 
less, dries  quickly,  and  is  warranted  not  to  change.  On 
glossy  surfaces  it  can  be  flowed  over  the  picture ;  on  dead 
surfaces  use  a  flat  camel's-hair  brush ;  one  coat  is  sufficient ; 
lay  the  picture  horizontally  to  dry. 

Arrangement  of  the  Light. 

The  window  through  which  the  light  is  admitted  to  the 
studio  and  upon  the  work  should  be  at  the  left  hand,  and 
rather  to  the  rear  than  front.  However,  whilst  it  be  ar- 
ranged rearward  to  avoid  light  in  the  eyes,  be  watchful  also 
that  the  head  shall  not  in  the  least  degree  shade  the  work. 

A  window  facing  northward  is  the  best,  on  account  of  its 
avoiding  direct  sunshine,  and  furnishing  an  even  sunlight. 
A  high  window  is  also  better  than  a  low  one,  and  the  light 
should  be  made  to  enter  from  its  upper  half  or  third  part ; 
the  remainder  being  covered  by  a  dark  curtain,  which  should 
be  raised  or  lowered  according  to  circumstances. 

It  is  not  best  to  work  in  a  very  strong  light ;  it  will  beget 
extreme  particularity  and  hardness  of  effect,  while  a  more 
subdued  light  is  likely  to  induce  breadth  and  softness.  This 
is  especially  the  case  with  large  pictures.    Another  advan- 


32 


HOW  TO  PAINT  PHOTOGRAPHS. 


tage  of  subdued  light  will  be  apparent  when  working  up 
very  bad  copies;  the  location  of  half  shades  will  be  dis- 
cerned, the  presence  of  which  would  not  have  been  sus- 
pected at  all  in  a  stronger  light.  Indeed  the  size  of  the 
work  in  hand  should  always  govern  the  movable  curtain — 
"so  let  your  light"  be. 

Pigments,  their  Qualities  and  Adaptations. 

Of  the  colors  mentioned  in  a  previous  chapter,  it  is  very 
necessary  to  inform  the  student  respecting  some  of  their 
more  prominent  characteristics  and  particular  uses.  While 
these  directions,  obtained  from  the  experience  of  others,  may 
serve  as  a  basis  of  operations,  the  student  is  still  expected  to 
complete  the  work  by  his  own  practical  discoveries.  In  so 
doing,  he  will  be  surprised  to  find  that  the  uses  of  a  color 
upon  clean  white  paper  cannot  always  be  taken  as  a  crite- 
rion for  its  application  to  a  photograph ;  and  that,  indeed, 
the  photographic  base  will  sometimes  totally  defeat  an  effect 
which,  on  white  paper,  would  be  easily  achieved.  So  that, 
beyond  all  here  written,  there  remains,  necessarily,  a  con- 
clusion which  he  must  give  to  this  chapter. 

Having  already  classified  the  colors  as  to  their  import- 
ance, and  desirableness,  they  will  be  referred  to  here  in  al- 
phabetical order. 

Bistre. — A  fine  brown  color  that  washes  well,  is  perma- 
nent, and  has  a  clearness  which  is  well  adapted  to  architect- 
ural subjects.  It  is  applicable  for  the  shadows  in  flaxen 
hair,  on  account  of  its  slight  inclination  to  green. 

Brown  Pink. —  This  orange-green  color  is  a  vegetable 
pigment,  and  almost  indispensable  in  landscape,  affording 
many  rich  foliage  tints  for  foregrounds.  It  may  be  modi- 
fied with  Burnt  Sienna ;  and  if  a  little  Indigo  be  added,  a 
warm  green  is  produced.  It  can  be  used  in  flesh  to  bring 
up  very  dark  shadows,  if  such  exist,  in  the  photograph ; 


PIGMENTS,  THEIR  QUALITIES  AND  ADAPTATIONS.  33 

combined  with  Pink  Madder  it  forms  a  valuable  flesh  shad- 
ow-tint. 

Burnt  Sienna. — A  very  rich,  transparent,  and  powerful 
orange-russet  color,  sometimes  admitted  into  warm  or  very 
dark  complexions,  and  is  much  used  in  every  branch  of 
water-color  painting.  It  serves  for  the  shadow  tints  of 
amber-colored  draperies ;  and  in  painting  out-door  scenes 
or  landscape  backgrounds,  it  yields  fine  olive  greens  by  ad- 
mixture with  Indigo,  or  any  of  the  deeper  blues  \  and  these 
tints  may  also  be  saddened  into  fine  olive  neutrals  by  the 
addition  of  Sepia.  It  is  inflexibly  permanent,  and  washes 
and  works  with  great  facility.  Can  be  used  for  deep  lines 
in  the  flesh — as  between  the  fingers,  wrinkles  in  shadowed 
parts,  etc. 

Burnt  Umber. — A  quiet  yellowish-brown  color,  affording 
clear  and  warm  shadows.  It  is  apt  to  look  rather  turbid  if 
used  in  great  depth,  but  it  washes  and  works  beautifully, 
and  is  indispensable  in  buildings.  It  is  a  very  useful  color 
for  some  of  the  lighter  shades  of  brown  hair,  for  curtain- 
draperies,  and  for  the  deep  shadows  of  gold. 

Cadmium  Yellow. — A  splendid  glowing  orange  yellow, 
whose  durability  can  be  relied  on.  It  is  extremely  bril- 
liant, and  nearly  transparent ;  which  qualities  make  it  in- 
valuable where  a  gorgeous  effect  is  to  be  produced.  It  is 
the  very  best  vehicle  for  obtaining  orange  tints,  works  and 
washes  well,  and  is  the  most  serviceable  yellow  for  rich 
draperies ;  but  it  is  rather  too  powerful  for  flesh,  and  should 
not  be  used  unless  its  effect  is  thoroughly  understood. 

Carmine. — This  well-known,  brilliant,  deep-toned  crim- 
son possesses  great  strength  in  its  full  touches,  and  much 
clearness  in  its  pale  washes — although  not  equalling  Pink 
or  Rose  Madder  in  this  latter  quality.  It  flows  and  works 
extremely  wrell,  but  it  is  even  more  fugitive  than  Lake ; 
owing  to  which  qualities  the  propriety  of  using  it  at  all  in 


34 


HOW  TO  PAINT  PHOTOGRAPHS. 


flesh  tints  is  very  questionable,  whilst  the  Madders  can  be 
recommended  to  supply  its  place.  Its  use  should  be  con- 
fined to  drapery  and  brilliant  touches,  although  for  the  sake 
of  durability  it  is  best  to  "  choose  the  lesser  evil,"  and  be 
content  with  Crimson  Lake. 

Chinese  White. — This  very  eligible  material,  prepared 
from  the  oxide  of  zinc,  is  of  the  greatest  importance  to  the 
artist  in  water  colors.  It  is  prepared  beautifully  white,  and 
possesses  the  desirable  quality  of  dense  body ;  so  much  so, 
that  it  does  not  change  in  drying,  and  the  painter's  effects 
remain  unaltered.  It  works  and  washes  with  great  freedom, 
either  by  itself  or  in  combination  with  other  colors ;  has  no 
pasty  or  clogging  qualities,  and  its  permanency  is  unques- 
tionable. It  is  deemed  so  very  superior  to  the  imperfect 
whites  formerly  in  use,  that  it  has  been  universally  accepted 
as  the  most  valuable  white  pigment.  When  used  in  its  pure 
state,  its  shadows  ought  to  be  cold.  Mixed  with  local  colors, 
it  is  the  means  by  which  high  lights  are  generally  produced. 
All  cool  high  lights  should  be  mixed  with  Chinese  White. 
In  portraits,  its  use  is  chiefly  confined  to  the  white  spots  of 
the  eyes  ;  to  the  finishing  of  laces,  and  the  linen,  and  highest 
lights  on  gold  ornaments,  etc.  It  is  also  useful  in  correct- 
ing errors,  and  (if  used  in  an  extremely  limpid  state)  for 
heightening  complexions  when  the  photograph  is  too  dark. 

Crimson  Lake. — Is  a  beautiful  transparent  red,  similar  in 
its  character  to  Carmine,  but  lacking  the  extreme  richness 
and  brilliancy  of  the  latter.  It  is  generally  useful  in  all  de- 
partments of  the  art,  but  especially  so  in  mixing  the  vari- 
ous tints  for  draperies — especially  the  purples.  It  is  not 
classed  among  the  strictly  permanent  colors,  and  would  be 
more  durable  if  covered  with  a  coat  of  Gamboge,  but  in  this 
case  it  is  likely  to  change  from  crimson  to  scarlet.  If  used 
as  a  shadow  color  with  Sepia,  Purple  Lake  is  preferable — 
forming  a  tint  of  great  use  in  flesh-shadows,  particularly  the 


PIGMENTS,  THEIR  QUALITIES  AND  ADAPTATION.  35 

heavier  ones.  Lake  and  Sepia  also  form  a  good  compound 
for  the  lines  of  the  eyelids,  nostrils,  between  the  lips,  fin- 
gers, and  deep  touches  generally.  It  is  a  source  of  regret 
that  a  pigment  of  such  general  use  and  application,  possess- 
ing such  desirable  working  qualities  and  excellent  hue, 
should  not  also  be  strictly  durable. 

Cobalt  Blue. — Is  a  pure,  bright,  sky-blue  color,  nearly 
transparent,  and  the  only  blue  pigment  to  be  recommended 
for  producing  the  grays  and  pearly  tints  in  flesh.  It  is  a 
very  useful  color  in  every  respect,  works  well,  and  is  quite 
permanent.  With  Indian  Red  it  forms  a  standard  shadow-tint 
for  flesh,  and  with  Brown  Madder  it  affords  a  range  of  fine 
pearly  neutrals.  With  Light  Red  in  any  proportion  it  gives 
beautiful  cloud  tints.  It  affords  clear,  bright  tints  in  skies 
and  distances,  but  is  lacking  in  depth.  It  is  slightly  turbid 
when  used  as  a  strong  wash,  in  which  case  French  Blue 
would  do  better.  Cobalt  and  Yellow  Ochre  may  be  neu- 
tralized, with  a  little  Lake,  into  a  most  beautiful  and  useful 
gray.  Cobalt  very  slightly  tinged  by  the  addition  of  Gam- 
boge, makes  a  beautiful  greenish  cloud- wash  for  vignette 
heads. 

Dragon's  Blood. — A  deep,  rich,  blood  red,  not  in  very 
common  use,  but  of  great  advantage  to  those  who  under- 
stand its  capacities.  As  a  first-wash  for  a  crimson  curtain, 
it  gives  a  mellow  tone  of  exceeding  richness ;  is  important 
in  obtaining  the  various  hues  of  "  wine  color ; "  and  is  other- 
wise a  very  useful  reel.  When  used  as  a  local  color,  shade 
with  Crimson  Lake,  adding  Sepia  for  depth.  It  may  be  also 
used  for  giving  warm  tones  to  India  Ink. 

Emerald  Green. — Is  a  vivid  green,  for  which  no  mixture 
will  answer  as  a  substitute,  and  which  instantly  attracts  the 
eye  to  any  part  of  the  picture  where  it  is  used.  It  is  very 
useful  for  the  high  lights  of  green  stones  in  jewelry,  silks, 
curtains,  and  carpets ;  and  has  the  effect  of  toning  down  at 


36 


HOW  TO  PAINT  PHOTOGRAPHS. 


once,  by  force  of  contrast,  all  other  shades  of  green  near  it. 
Mixed  with  Gamboge,  very  limpidly,  it  can  be  used  as  a 
wash  for  ladies'  and  children's  dresses — the  high  lights  for 
which  should  have  Chinese  White  added  to  the  local  color. 

Flake  White. — Is  the  next  most  valuable  to  Chinese 
White.  It  does  not  possess  the  great  body  which  charac- 
terizes the  other,  and  cannot  therefore  be  used  for  very 
heavy  effects.  Its  lighter  quality,  however,  renders  it  valu- 
able for  delicate  touchings  and  fine  handling — especially  in 
obliterating  objectionable  spots  in  the  flesh  or  increasing  its 
high  lights.  It  works  nicely;  and  when  a  great  deal  of 
white  drapery  is  to  be  painted,  can  be  used  with  much  ad- 
vantage, as  it  allows  the  more  potent  Chinese  White  to  be 
reserved  for  the  laces  and  stronger  effects. 

French  Blue. — Is  much  darker  than  Cobalt,  strong  in 
color,  and  nearly  transparent.  It  resembles  the  tint  of,  and 
is.  considered  a  good  substitute  for,  the  real  Ultramarine ; 
and,  although  not  so  pure  and  vivid,  is  more  generally  use- 
ful. It  washes  and  works  satisfactorily,  but  should  never 
be  used  for  flesh  neutrals  in  place  of  Cobalt.  It  is  well 
adapted  to  figures,  landscapes,  and  draperies ;  and,  in  the 
latter  office,  requires  deep  shadows,  subdued  with  warm 
browns.  It  is  inferior  to  Cobalt  for  aerial  effects,  and  has 
a  slight  tendency  to  purple,  which  can  be  neutralized  by 
adding  a  small  quantity  of  Prussian  Blue. 

Gamboge. — A  very  bright  and  transparent  yellow  gum, 
inclining  to  green,  and  highly  useful.  It  flows  well,  and 
the  resin  which  it  contains  forms  a  kind  of  natural  varnish, 
which  aids  in  preserving  its  color.  It  is  too  "  brassy  "  to 
be  used  in  flesh-washes.  In  landscapes,  and  for  draperies, 
it  forms,  in  combination  with  Indigo,  and  French  or  Prus- 
sian Blue,  a  great  variety  of  clear  and  cool  greens ;  and 
with  Sepia  or  Lamp  Black,  a  very  sober  tint.  Adding 
Burnt  Sienna  or  Brown  Madder  to  these  greens,  rich  and 


PIGMENTS,  THEIR  QUALITIES  AND  ADAPTATION.  37 


easily-varied  autumnal  hues  are  produced.  It  should  not 
be  used  for  distant  tints.  It  is  not  entirely  permanent,  but 
nevertheless  one  of  the  best  yellows  for  making  greens. 
With  Indigo  and  Lake  it  also  produces  gray  and  black. 

Indigo — Is  a  vegetable  pigment  of  a  deep,  slightly  green- 
ish blue,  and  a  very  useful  color  in  compound  tints.  It  is 
clear  in  all  its  shades,  washes  and  works  well,  and  is  thor- 
oughly reliable.  Indigo  is  indispensable  in  landscape,  and 
with  Gamboge,  Raw  Sienna,  Burnt  Sienna,  Roman  Ochre, 
Yellow  Ochre,  it  gives  clear  sober  greens ;  and  with  Sepia 
makes  a  retiring  green  for  distant  trees.  It  is  also  a  useful 
color  for  backgrounds  when  considerable  depth  is  desirable. 
Indigo,  Sepia,  and  Crimson  or  Purple  Lake,  form  the  best 
compound  for  black  cloth  drapery ;  and  with  these  three  any 
tone  desired  can  be  obtained.  Warmed  with  brown  it  is 
also  a  good  shadow  color  for  blue  (military)  cloth.  Indigo 
and  Carmine  make  an  excellent  purple,  and  better  adapted 
for  draperies  (being  less  gaudy)  than  Prussian  Blue  and 
Carmine.  Indigo  and  Yellow  Ochre,  neutralized  by  Crim- 
son Lake,  make  a  fine  strong  gray,  very  useful  for  deep 
tones  in  clouding,  and  for  a  local  wash  in  solid  backgrounds. 

Indian  Bed. — A  very  durable  earth  of  a  purple  russet 
hue  and  good  body.  When  rightly  used,  it  produces  fine 
clear  tints  in  flesh,  and  when  mixed  with  Cobalt  it  is  one 
of  the  standard  ingredients  for  the  deeper  flesh-shadows. 
It  is  much  used  for  grays  when  mixed  with  Cobalt  or  Indigo, 
and  neutralized  by  a  little  yellow.  It  is  serviceable  alone 
in  painting  the  upper  lip,  which  being  usually  in  shadow,  re- 
quires a  dull  red,  although  the  tone  may  be  enlivened  with 
a  little  Crimson  Lake.  Some  of  the  lighter  flesh  shadows 
— especially  of  children — may  be  done  with  it,  but  with 
delicacy. 

Indian  Yellow — Is  a  rich,  intense,  golden  color,  much 
used  for  draperies,  and  possessing  greater  body  and  depth 

4 


38 


HOW  TO  PAINT  PHOTOGRAPHS. 


than  Gamboge,  forms,  in  combination  with  the  same  blues, 
a  variety  of  more  intense  and  lively  greens.  It  is  quite 
permanent,  and  washes  and  works  to  perfection.  Its  fine 
qualities  cause  it  to  be  employed  very  generally  in  the  flesh- 
washes,  mixed  more  or  less  with  Pink  Madder  and  Venetian 
R  ed.  It  may  also  be  used  for  warm  skies,  and,  mixed  with 
Chinese  White,  gives  a  durable  high  light  for  gold.  Being  very 
powerful  and  gaudy,  care  should  be  used  in  its  application. 

Lampblack. — An  opaque  black,  not  quite  so  intense  or 
transparent  as  the  old  Ivory  Black,  but  it  is  less  brown  in 
its  pale  tones.  It  has  sufficient  strength  of  body  to  oblit- 
erate every  underlay  of  color,  and  is  good  for  mixing  with 
Chinese  White  to  produce  the  gray  high  lights  on  black, 
cloth  and  velvet.  It  may  be  used  in  lieu  of,  or  in  connec- 
tion with,  India  Ink,  for  retouching  photographs  ;  and  being 
free  from  the  sometimes  too  gummy  properties  of  the  latter, 
it  works  kindly,  also  producing  a  more  silvery  effect.  Where 
depth  and  opacity  are  wanted,  it  is  the  best  black  at  hand, 
while  its  power  may  be  further  increased  by  the  application 
of  gum  Arabic. 

Lemon  Yellow. — The  lightest  tint  of  the  yellow  chromes 
is  very  pale,  lively,  and  entirely  free  from  the  least  tinge  of 
orange.  It  has  not  much  power,  and  is  semi-opaque.  It 
may  be  employed  for  points  of  extreme  high  light ;  is  quite 
permanent,  and  washes  well  if  skilfully  prepared.  Princi- 
pally useful  in  draperies,  but  must  be  used  in  thin  washes. 

Light  Red. — A  preparation  of  Burnt  Ochre  scarcely  to 
be  classed  as  a  red ;  clear  and 'transparent,  but  not  bright ; 
of  a  character  similar  to  Yenetian  Red,  but  partaking  of  a 
russet-orange  tone.  Mixed  with  Cobalt,  Rose  Madder,  and 
Indian  Yellow,  it  yields  fine  gray  shadows  ;  and,  with  black, 
and  Brown  Pink,  fine  warm,  near-tones  in  landscape.  It 
is  permanent  and  useful.  With  Pink  Madder  or  Yermil- 
ion  and  a  little  Indian  Yellow,  it  forms  a  good  flesh-wash, 


PIGMENTS,  THEIR  QUALITIES  AND  ADAPTATION.  39 

if  properly  modified.  Too  much  of  it  in  the  face  produces 
a  coppery  effect ;  and  hence,  when  used  alone,  it  is  more 
desirable  for  the  darker  complexions. 

Madder  Brown,  or  Brown  Madder. — This  rich,  laky 
brown  is  of  intense  depth,  and  transparent,  affording  equally 
the  richest  description  of  shadows  and  the  most  delicate 
pale  tints.  With  Cobalt,  or  with  French  Blue,  a  set  of  fine 
warm  or  cool  grays  are  compounded,  in  proportion  as  the 
brown  or  the  blue  predominates.  It  is  quite  permanent. 
Many  of  the  deep  shadow  touches  of  the  face  may  be  done 
with  this  color  alone.  Sometimes  used  as  a  local  wash  for 
furniture-wood.  This  color  may  be  so  nearly  supplied  by 
a  mixture  of  Crimson  Lake  and  Sepia,  that  the  latter  might 
be  used  for  large  and  deep-toned  applications ;  but  the  fugi- 
tive quality  of  Lake  depreciates  the  permanency  of  this  mix- 
ture. 

Neutral  Tint. — Composed  of  red,  yellow,  and  blue,  in 
certain  proportions,  is  a  cool,  neutral,  compound  shadow 
color, "and  useful  as  a  vehicle  for  many  other  compound 
tints.  It  may  be  introduced  into  faces  for  softening  the 
edges  of  the  eyebrows  and  hair.  With  Burnt  Umber  it 
forms  a  beautiful,  cool,  light-brown  hair-color,  and  with 
Sepia  a  cool  dark  brown  for  the  same  purpose.  It  is  of  ad  - 
vantageous  use  in  cloud  backgrounds  and  indispensable  for 
softening  the  edges  of  the  head  and  figure.  Altogether,  it 
is  one  of  the  most  valuable  pigments  in  the  color-box. 

Orange  Chrome — Is,  like  Light  Red,  a  tint  of  Yellow 
Ochre  burnt — by  which  operation  it  acquires  warmth,  color, 
and  transparency — and  has  many  of  the  good  qualities  of 
its  original,  with  greater  power.  It  is  the  deepest  shade  of 
the  yellow  chromes ;  a  very  powerful  tint,  and  opaque. 
When  used  limpidly,  it  is  applicable  to  orange-yellow  dra- 
peries ;  and,  if  used  alone,  delicately,  or  subdued  with  Burnt 
Sienna,  it  is  good  for  strong  reflected  lights  on  the  flesh. 


40 


HOW  TO  PAINT  PHOTOGRAPHS. 


It  will  be  found  a  convenient  preparation  of  orange,  especi- 
ally for  touches. 

Olive  Green. — A  fine  olive  green,  of  sober  richness, 
much  used  in  landscape.  It  is  permanent,  and,  mixed  with 
Pink  Madder,  makes  a  good  clear  shadow  tint  for  certain 
parts  of  the  flesh.  With  Sepia,  it  forms  an  excellent  color 
for  figure  backgrounds,  if  washed  on  a  dark  base,  and  har- 
monizing well  with  the  flesh. 

Pink  Madder — Is  very  delicate,  and  used  almost  entirely 
for  the  carnation  tints  in  flesh,  as  well  as  for  pink  drape- 
ries. It  is  clearer  in  its  pale  hues  than  either  Crimson  Lake 
or  Carmine,  but  does  not  possess  intensity.  On  account 
of  their  superior  permanenc}r,  all  the  colors  prepared  from 
madder  are  among  the  most  valuable  in  the  color  list.  With 
Cobalt  it  forms  a  most  delicate  lavender,  and  many  beauti- 
ful tones  of  delicate  gray. 

Prussian  Blue. — A  deep-toned,  brilliant  blue,  having  a 
slightly  greenish  tinge,  on  which  account  it  is  not  admis- 
sible for  application  in  skies  or  flesh,  where  none  but  un- 
alloyed colors  should  be  used.  ,  It  is  generally  adopted  for 
blue  draperies ;  and,  when  mixed  with  Carmine  or  Lake, 
produces  all  the  tones  of  violet,  lilac,  and  purple.  With 
Gamboge  it  forms  the  most  common  green.  When  used  for 
draperies,  it  should  be  warmed  with  a  little  Lake,  to  "kill" 
its  intense  cold  and  raw  effect. 

Prussian  Green — Is  a  very  beautiful  color  of  a  cool, 
deep-bluish  tone ;  and  its  place  might  almost  be  supplied 
by  mixture.  It  is,  however,  a  convenient  preparation  for 
curtains,  chair  and  sofa  cushions,  carpets,  and  leaves  of 
scarlet  flowers,  the  green  stones  of  jewelry,  and  for  sea- 
green  silk  dresses.    For  high  lights,  use  Emerald  Green. 

Purple  Madder. — An  intensely  deep,  rich,  and  warm 
purple,  affording  the  greatest  depth  of  shadow,  without 


PIGMENTS,  THEIR  QUALITIES  AND  ADAPTATION.  41 


coldness  of  tint.  The  clearness  and  beauty  of  its  delicate 
tones  render  it  valuable  in  every  stage  of  the  work.  With 
Indigo  and  Raw  Sienna  it  gives  beautiful  shadow  tints,  and 
may  be  relied  on  for  permanency. 

Purple  Lake. — A  transparent,  deep-toned  Lake ;  useful 
in  shadows  of  crimson  and  purple  draperies,  and  good  in 
making  the  Compound  Black. 

Raw  Sienna — Is  very  transparent,  but  a  rather  impure 
or  tawny  yellow.  It  is  mostly  valuable  in  landscape,  both 
in  distance  and  foreground,  and  excellent  for  obtaining  the 
greenish  hues  of  water.  It  can  be  made  very  useful,  but 
does  not  work  very  well,  having  a  tendency  to  be  uneven  on 
the  paper.  It  furnishes  a  good  local  wash  over  a  dark 
ground,  which  is  afterwards  to  be  lined  and  panelled. 

Raw  Umber. — A  quiet,  yellowish-brown,  not  perfectly 
transparent;  applicable  for  certain  background-parts,  and 
in  landscape ;  but  more  particularly  useful  in  the  shadowing 
of  light  flaxen  hair. 

Rose  Madder,  or  Madder  Lake. — A  rather  deep  tint  of 
the  same  kind  as  Pink  Madder,  and  for  which  it  could  be 
used.  It  is  of  universal  application  in  all  descriptions  of 
water-color  painting,  because  it  works  well,  and  is  strictly 
permanent.  It  is  an  excellent  color  for  glazing  the  under- 
lip,  in  portraits,  and  when  used  as  a  carnation  for  women 
and  children,  should  be  slightly  mixed  with  Yermilion. 

Roman  Ochre — May  be  used  sometimes  for  the  yellowish 
tint  in  very  dark  complexions,  and  for  draperies.  It  is 
deeper  and  more  transparent  than  Yellow  Ochre,  and  is,  for 
many  purposes,  preferred  to  it.  It  makes  the  very  best  local 
wash  for  gold,  and  serves  also  for  some  kinds  of  flaxen  hair, 
either  alone  or  modified  with  Sepia.  With  Indigo  it  forms 
a  valuable  sober  green.  The  Ochres  are  among  the  most 
ancient  and  valuable  of  pigments,  and  all  are  "broken"  or 
indefinite  colors. 

4* 


42 


HOW  TO  PAINT  PHOTOGRAPHS. 


Scarlet  Lake. — More  scarlet  in  its  hue  than  Crimson 
Lake,  but  not  so  transparent.  Yery  convenient  and  useful 
for  brilliant  crimson  effects,  and  as  a  shadow-color  for  Pink 
(Madder)  draperies. 

Scarlet  Vermilion — As  already  prepared,  is  far  more 
effective  and  beautiful  than  can  be  produced  by  mixture, 
and  must  be  ranked  among  the  essential  pigments,  if  for 
no  other  purpose  than  to  heighten  the  effect  of  Pink  or 
Rose  Madder  when  used  for  carnations.  It  is  the  addition 
of  the  Scarlet  Yermilion  which  gives  that  effect  called 
"peachy,"  so  admirable  in  the  cheeks  of  women  and  chil- 
dren ;  but  its  opacity,  heaviness,  and  power,  require  an  ex- 
tremely delicate  application  in  flesh,  or  the  worst  conse- 
quences may  result.  It  is  also  further  useful  for  the  most 
brilliant  touches  in  flowers,  draperies,  and  carpets. 

[The  Yermilions  being  so  very  hard,  should  be  rubbed 
soft  with  the  finger,  so  as  not  to  wear  out  the  brush.] 

Sepia — Is,  by  far,  the  most  valuable  of  the  brown  pig- 
ments, and  is  used  for  combinations  more  than  any  other 
color.  It  is  cool,  and,  unless  artificially  warmed  by  mixing 
with  other  colors,  it  is  of  a  dusky  brown  tint.  Its  light  tints 
are  extremely  clear,  but  its  coloring  property  is  so  very 
strong,  that,  unless  used  with  great  caution,  it  is  apt  to 
produce  heaviness  in  the  shadows.  It  is  perhaps  the  best 
washer  known  to  the  colorist,  and  is  transparent  and  per- 
manent. It  is  useful  as  a  general  shadow  tint  for  light 
backgrounds,  and  for  scumbling.  With  Lake  it  makes  an 
excellent  tint,  somewhat  resembling  Brown  Madder,  useful 
for  giving  the  sharp  touches  about  the  eyes,  nostrils,  etc. 
Added  to  Lake  and  Indigo,  it  forms  the  u  Compound  Black" 
— a  superb  mixture  for  black  cloth,  silks,  satins,  etc.  As  a 
tint  for  the  hair  it  is  unrivalled,  on  account  of  its  adapta- 
bility to  either  the  lightest  or  darkest  shades  of  brown.  In 
landscape,  with  Gamboge,  it  affords  a  range  of  fine  neutral 


PIGMENTS,  THEIR  QUALITIES  AND  ADAPTATION.  43 


greens,  which  are  permanent.  With  Indigo,  it  gives  very 
cool  dark  greens ;  with  Prussian  Blue,  a  low  olive  green. 

There  are  also  two  other  descriptions  of  Sepia :  one  called 
Warm  Sepia,  the  other  Roman  Sepia.  They  are  tints  com- 
pounded by  the  admixture  of  a  red  for  the  former,  and  a 
yellow  for  the  latter,  with  the  natural  Sepia.  The  latter  is 
a  good  color  for  yellowish-brown  hair. 

Yandyke  Brown — Is  a  bituminous  earth,  very  rich  and 
transparent,  and  is  named  after  the  great  master  of  the  por- 
trait art,  on  account  of  its  frequent  use  in  his  works.  It  is 
permanent,  and  is  employed  in  almost  every  department  of 
water  color.  It  is  clear  in  its  pale  tints,  and  deep  and  warm 
in  shadows.  Valuable  as  it  is,  and  the  most  beautiful  brown 
the  colorist  has,  it  nevertheless  works  badly.  With  Lake  it 
forms  a  good  transparent  tint,  much  used  as  a  flesh  shadow 
color ;  and  with  Indigo  it  gives  very  clear,  sober,  neutral 
greens  for  the  middle  distance  in  landscape.  It  is  a  very 
fine  glazing  color,  and  is  well  adapted  for  strengthening  the 
shadow  under  the  nose,  glazing  the  darkest  shadows  of  green 
draperies,  and  for  painting  "  golden-brown  "  hair.  Combined 
with  Cobalt,  it  makes  the  most  desirable  of  all  shadow-tints 
for  linen  and  white  draperies,  the  effect  being  warm  or  cool, 
as  the  brown  or  blue  predominates. 

Vermilion. — A  brilliant  opaque  scarlet  red,  of  great  body 
and  weight.  It  varies  much  in  its  tone  of  color  and  in  the 
facility  with  which  it  is  worked ;  and  as  it  does  not  flow  well, 
is  apt  to  settle  away  from  other  pigments,  and  totally  lacks 
transparency,  its  use  is  rather  circumscribed.  Added  to 
Carmine  or  Gamboge,  it  affords  the  tints  respectively  of 
Scarlet  and  Orange  Vermilion.  In  a  very  limpid  state  it 
may  be  used  for  the  flesh-washes  of  children  and  fair-com- 
plexioned  women ;  but,  as  it  is  a  very  heavy  color,  extreme 
caution  is  required  to  do  this  properly.  It  is  a  good  local 
color  for  the  under  lip,  if  applied  thinly.    In  like  manner  it 


44 


HOW  TO  PAINT  PHOTOGRAPHS. 


is  also  serviceable  to  illuminate  deep  shadows  under  the 
eyebrows,  nose,  and  chin.  It  is  extremely  heavy  for  drape- 
ries, but  is  well  adapted  for  the  brilliant  touches  in  carpets, 
flowers,  and  otherwise,  when  effect  rather  than  smoothness 
is  desired.    It  cannot  be  used  for  grays  or  purples. 

Venetian  Red — Although  deeper  and  purer,  is  very  sim- 
ilar in  its  general  character  to  Light  Red,  and  is  preferred 
by  some  as  being  not  only  a  better  color,  but  as  working 
better.  Its  tints,  though  not  bright,  are  clear ;  and,  when 
mixed  with  Cobalt  or  French  Blue,  affords  excellent  grays. 
It  is  very  permanent,  and  is  useful  and  valuable  as  a  tint  for 
ordinary  flesh-washes,  with  or  without  yellow.  Heightened 
with  Pink  or  Rose  Madder,  it  makes  another  fine  glowing 
hue  for  working  the  flesh,  and  applicable  in  some  descrip- 
tion of  skies  ;  saddened  with  black,  it  gives  low-toned  reds 
for  buildings. 

Yellow  Ochre  This  sober  broken  yellow  is  employed 

for  very  many  purposes,  is  permanent,  works  well,  and  is  the 
most  useful  and  valuable  of  all  the  Ochres.  It  possesses  a 
slight  degree  of  turbidness,  and  is  esteemed  for  this  very 
quality,  which  is  considered  to  give  it  its  retiring  effect.  It 
is  useful  in  forming  quiet  greens  for  landscape.  In  por- 
traiture it  is  used  very  thinly,  for  the  local  color  of  light 
flaxen  hair,  and  in  compounding  the  stronger  flesh-washes 
for  men.  With  Yandyke  Brown,  it  furnishes  a  good  yellow- 
ish drab ;  with  Indigo  and  a  little  Lake,  a  strong  and  beau- 
tiful' gray ;  and  with  Madder  Brown,  it  furnishes  the  exact 
hue  of  Neutral  Orange. 

Handling  or  Manipulation. 

Much  of  the  freedom  necessary  to  spirited  and  effective 
work,  particularly  in  the  matter  of  details,  will  depend  on 
the  care  and  attention  bestowed  upon  the  manner  of  using 
the  brush. 


DIRECTIONS  FOR  WASHING. 


45 


The  hand  should  be  lightly  rested,  but  it  must  be  in  such 
a  manner  as  to  secure  the  perfectly  free  action  of  the  wrist, 
and  of  the  fingers  by  which  the  brush  is  held.  In  holding 
the  brush,  the  fingers  should  be  kept  as  far  as  possible  from 
the  point ;  and  it  should  be  taken  between  the  first  finger 
and  thumb,  the  middle  finger  being  rather  under  it,  and  the 
third  and  fourth  fingers  gathered  quite  under  and  back.  Try 
to  acquire  a  full  and  firm  touch  with-  the  brush,  and  do  not 
work  too  much  on  the  point  of  it.  Wash  it  frequently  by 
stirring  in  a  glass  of  clean  water,  especially  if  you  have  been 
using  gum  Arabic,  opaque  color,  or  white.  The  habit,  very 
general  among  water-color  painters,  of  giving  the  brush  a 
point  by  drawing  it  between  the  lips,  is  objectionable,  espe- 
cially when  the  saliva  is  permitted  to  saturate  it.  It  is  far 
better  to  draw  the  brush  to  a  point  over  a  piece  of  paper, 
kept  at  hand  for  this  purpose. 

Every  beginner  should  endeavor,  by  continued  practice, 
to  attain  that  characteristic  in  manipulation  which  is  de- 
nominated "  breadth,"  by  which  the  easy  dexterity  of  the 
proficient  is  readily  distinguished  from  the  faltering  and 
mincing  touch  of  the  novice.  In  a  word,  "breadth"  is  the 
result  of  knowing  exactly  yjhat  to  do,  and  doing  it  at  once! 
He  must  not  expect  either  that  he  can  acquire  immediately 
or  easily  the  necessary  skill  to  accomplish  the  various  pro- 
cesses of  manipulation,  although  they  are  in  fact  simply  me- 
chanical. Repeated  experiments  will  be  necessary  to  pro- 
duce satisfactory  results. 

The  handling  of  water-colors  is  comprised  in  three  prin- 
cipal operations,  viz. :  Washing,  Hatching,  and  Stippling. 

Directions  for  Washing. 

To  a  looker-on,  the  process  of  washing,  whilst  it  may  seem 
to  be  the  easiest,  is  perhaps  the  most  difficult  of  the  three 
methods  of  using  the  brush.  To  do  it  well  requires  an 
amount  of  quickness,  freedom,  and  steadiness, — qualities 


46 


HOW  TO  PAINT  PHOTOGRAPHS. 


which  can  be  attained  only  by  incessant  practice,  and  which 
are  not  found  combined  in  every  student's  hand.  Timidity 
in  this  operation  is  at  once  perceptible  in  the  result : 
blotches,  muddiness,  streaks,  and  a  general  unevenness  of 
color.  In  his  first  attempts,  the  student  may  feel  disap- 
pointed if  he  does  not  attain  the  effect  of  equality  and  even- 
ness, but  this  is  not  to  be  expected  without  considerable  ex- 
perience ;  and  much  dexterity  of  hand  will  always  be  neces- 
sary in  order  to  avoid  the  blemishes  already  alluded  to, — 
inequality  of  color,  unevenness  of  tint,  improperly-defined 
edges. 

Where  a  large  space  is  to  be  covered  by  a  flat  wash,  it  is 
advantageous  to  first  go  over  the  surface  lightly  with  pure 
water,  in  order  that  the  paper  thus  partially  saturated  may 
absorb  the  wash  of  color  more  evenly  than  if  left  dry ;  and 
not  too  rapidly  to  allow  its  being  put  into  all  corners  of  the 
picture.  Remember  that  the  flow  of  the  wash  -can  be  regu- 
lated considerably  by  the  angle  at  which  the  board  is  laid, 
and  therefore  the  inclination  of  an  easel  will  be  found  en- 
tirely too  steep  for  large  washes. 

The  tints  should  be  all  fully  prepared  beforehand,  and  then 
they  should  be  laid  upon  the  paper  as  rapidly  as  the  requi- 
site depth  of  tint  and  the  preservation  of  the  forms  will 
allow,  in  order  that  the  interstices  of  the  paper  may  be  well 
filled,  and  solidity  of  effect  thus  obtained.  As  a  general 
rule,  the  brush  should  be  tolerably  full  of  color,  so  that  it 
may  float  freely,  for  upon  this  point  in  manipulating,  the 
cleanness  of  the  work  very  much  depends. 

In  laying  on  the  tints,  begin  by  planting  them  boldly, 
and  at  once,  close  to  the  edges  of  the  space  to  be  covered, 
and  not  by  repeated  touches,  or  by  dragging  the  brush  tim- 
idly backward  and  forward.  It  is  also  well  to  stir  up  the 
amount  of  wash  prepared  every  time  the  emptied  brush  is 
returned  for  more  color,  as  it  keeps  settling  all  the  while. 
In  passing  the  brush  to  and  fro,  whilst  guiding  the  color- 


DIRECTIONS  FOR  HATCHING. 


47 


wash  as  it  flows,  a  tremulous  or  wavy  motion  of  the  hand 
will  prevent  the  appearance  of  lines  after  the  washed  part 
has  become  dry. 

To  prevent  a  blotty  appearance  in  laying  flat  washes,  the 
student  should  endeavor  to  regulate  the  charging  of  his 
brush  with  color  by  the  amount  of  space  to  which  it  is  to  be 
applied.  If  this  is  not  done,  and  the  brush  is  still  charged, 
after  covering  the  space  intended,  it  can  scarcely  be  taken 
off  the  paper  without  leaving  a  floating  spot,  or  drop  of 
color,  at  the  point  of  removal.  If  this  occurs,  however,  the 
floating  drop  of  surplus  color  may  be  removed  by  absorbing 
it  into  the  brush,  made  somewhat  dry. 

Whenever  it  is  necessary  to  repeat  a  wash  over  the  same 
surface,  be  careful  to  wait  until  the  previous  one  is  com- 
pletely absorbed,  or  somewhat  advanced  in  drying;  else  the 
after-wash  may  not  only  run  irregularly,  but,  if  the  previous 
one  has  been  strong  in  color,  it  will  lift  it,  or  "  wash  up." 
Neither  is  it  well  to  mix  colors  on  the  picture  by  successive 
washes ;  the  color  should  be  definitely  settled  and  prepared 
beforehand,  or  impurity  will  surely  result. 

In  drying,  the  board  should  be  kept  at  the  same  inclina- 
tion (or  a  little  less)  as  when  the  wash  was  applied.  When 
absorption  has  ended,  it  may  be  laid  entirely  flat. 

Directions  for  Hatching. 

This  is  a  process  most  generally  executed  upon  a  previous 
wash.  It  consists  in  the  drawing  of  lines  in  such  a  manner 
as  to  produce  an  effect  impossible  with  the  wash  alone. 
There  are  different  methods  of  hatching,  and  probably  every 
artist  has  his  own  peculiar  mode ;  but  the  student  is  recom- 
mended to  try  as  follows,  which  will,  no  doubt,  give  a  suf- 
ficient general  idea. 

Work  over  the  space  to  be  hatched  with  short,  wide,  regu- 
lar strokes,  drawn  firmly  in  rows,  and  so  as  not  to  leave  little 
blots  at  the  end  of  the  strokes,  at  the  same  time  following, 


48 


HOW  TO  PAINT  PHOTOGRAPHS. 


as  much  as  possible,  the  general  direction  indicated  by  the 
form  of  the  subject  in  hand.  Hence,  if  hatching  upon  a 
flesh-wash,  the  direction  would  be  horizontal  on  the  fore- 
head, perpendicular  on  the  nose,  and  circular  around  the 
eyes,  mouth,  chin,  and  contour  of  the  face. 

[The  little  blots  mentioned  can  be  avoided — and  should 
be — by  using  the  color  rather  dry,  and  by  pressing  firmly 
on  the  brush  at  the  beginning  of  the  stroke,  carry  it  on  to 
the  end,  instead  of  beginning  lightly  and  ending  by  a  firm 
pressure.] 

Having  hatched  these  strokes  evenly  one  way,  after  they 
have  become  dry,  cross  them  with  others,  using  the  same 
firm  touch  ;  but  never  cross  at  right  angles,  or  with  lines 
too  oblique.  The  appearance  of  the  hatching  should  be  tol- 
erably open,  in  order  that  the  local-color  may  not  be  entirely 
hidden,  but  not  too  much  so. 

The  effect  of  hatching  on  shadows  is  to  give  them  trans- 
parency, enabling  the  spectator  to  look  into  their  depths, — 
a  result  which  can  never  be  attained  by  the  use  of  flat  color- 
washes alone.  In  clouding,  around  vignette  heads,  it  is  the 
hatching  which  will  produce  the  mellow  aerial  effect,  and 
without  which  the  previous  washes  would  suggest  solidity 
or  flatness. 

Sometimes  the  hatching  will  appear  too  wiry,  in  which 
case  wash  it  as  many  times  as  may  be  necessary  with  a  clean 
brush  just  moistened  with  water,  so  as  to  slightly  blend,  the 
lines.  It  may  also  happen  that  the  tint  is  worked  in  too 
dark,  in  which  case,  hatch  with  clean  water  (without  color), 
and,  when  perfectly  dry  remove  the  loosened  particles  of 
color  by  rubbing  it  gently  with  a  soft  handkerchief. 

It  frequently  happens  that  when  the  picture  is  looked  at 
under  a  light  opposite  to  that  by  which  it  was  painted,  the 
hatching  appears  rough  and  very  decided.  For  this  reason 
it  is  advisable  to  place  the  picture  in  different  lights,  and 
work  on  it  until  it  is  perfectly  smooth  and  even, — taking 


DIRECTIONS  FOR  STIPPLING. 


49 


care  not  to  deepen  the  colors.  This  may  be  easily  avoided 
by  working  rather  between  the  hatching  lines. 

If  the  student  will  examine  the  manipulation  of  a  good  Line 
engraving  he  will  obtain  many  valuable  hints  respecting  di- 
rection and  general  effect. 

Directions  for  Stippling. 

This  method  is  similar  to  hatching,  except  that,  instead 
of  lines,  the  color  is  worked  on  with  dots  and  touches  made 
with  the  point  of  the  brush.  Its  effect  is  about  the  same  as 
hatching, — to  give  depth  and  transparency,  and  at  the  same 
time  retain  greater  purity  of  tint  than  could  possibly  be  ef- 
fected by  any  washing  of  mixed  colors.  It  is  considered 
the  finest  and  most  delicate  of  the  three  methods  of  hand- 
ling, and  is  consequently  the  least  expeditious. 

Stippling  is  inseparable  from  flesh-painting,  and  may  be 
considered  the  means,  par  excellence,  by  which  to  produce 
those  soft  undulations  and  indefinite  shadows  which  exist  in 
nature.  As  there  are  no  lines  in  flesh,  stippling  is  far  prefer- 
able to  hatching  (except  in  very  large-sized  work,  where  mere 
dots  would  be  too  weak)  ;  the  dots  and  touches  being  able 
to  produce  a  granular  appearance  more  harmonious  with  the 
quality  and  character  of  the  thing  represen  ted. 

In  general  practice,  however,  stippling  and  hatching  have 
become  confounded,  and  the  united  method  is  denominated 
in  ordinary  parlance  "  stipple."  This  nonconformity  with 
the  exact  demands  of  each  process  may,  after  all,  be  well 
enough ;  and  the  student  will  find  when  he  endeavors  to 
paint  flesh,  that  it  will  be  somewhat  difficult  to  progress  in 
his  work  without  involuntary  falling  into  the  adoption  of  a 
hatch-stipple  manipulation. 

Some  painters,  indeed,  recommend  the  flesh  to  be  painted, 
first,  by  hatching — keeping  the  lines  rather  square — and 
leaving  the  interstices  to  be  filled  up  afterwards  by  stippling. 

5 


50 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  effect  of  this  is  considered  to  be  decidedly  bold,  and 
well  snited  to  large  work. 

Unless  the  picture  be  very  small,  or  the  work  be  very  fine, 
the  student  is  recommended  to  use  a  medium-sized  brush. 
The  use  of  a  very  small  one,  or  one  having  a  fresh  point,  is 
likely  to  induce  an  excess  of  finish,  which  detracts  from  the 
results  aimed  at, — depth,  solidity,  and  color.  For  general 
use,  brushes  which  have  been  somewhat  worn  down  to  blunt 
points,  will  be  found  preferable. 

Stippling,  like  hatching,  must  follow  the  line  of  the  mus- 
cles, and  must  not  consist  of  dots  without  meaning.  The 
student  should  closely  examine  some  of  the  best  specimens 
of  stipple  engraving  (those  contained  in  the  London  Art  - 
Journal,  for  instance),  and  he  will  discover  what  a  magical 
effect  lies  in  the  correct  placing  and  disposition  of  the  stip- 
ple dots, — how  they  should  vary  in  size  according  to  posi- 
tion in  light  or  shadow,  then  "go  and  do  likewise." 

Practice  with  the  Brush. 

The  student  having  learned  how,  it  is  supposed  he  will 
proceed  to  do.  But  there  is  much  to  acquire  that  should  be 
done  apart  from,  and  as  preparatory  to,  working  on  the  pho- 
tograph. This  is  particularly  true  in  regard  to  Washing 
and  laying  on  color  in  masses.  A  disposition  to  practice  is 
highly  valuable,  and  in  order  to  aid  and  encourage  such,  the 
following  extracts  are  given  from  Professor  George  Bar- 
nard, whose  authority  on  this  point  is  sufficient : 

"  Perfect  freedom  in  all  the  motions  of  the  fingers,  hand, 
and  wrist,  and  dextrous  management  of  the  brush,  should 
be  acquired  before  the  student  attacks  the  difficulties  of 
color ;  and  the  time  spent  in  practicing  with  Sepia  or  the 
neutral  tints,  with  the  view  of  gaining  this  facility,  will  be 
well  bestowed." 

"Sepia,  without  any  admixture,  is  generally  chosen  as  the 


THE  DUPLICATE  PICTURE. 


51 


most  suitable  pigment  for  brush-practice,  as  its  light  washes 
are  extremely  clear,  and  it  possesses  great  power.  Its  gen- 
eral color  is  not  disagreeable  in  any  part  of  the  picture;  and 
should  other  tones  be  required,  it  will  harmonize  well  with 
Cobalt  and  the  other  blues  which  are  used  in  the  sky.  The 
paper  empkyyed  may  be  white  or  tinted ;  the  latter,  as  it 
allows  the  use  of  Chinese  White  for  the  lights,  is  generally 
preferred. 

"By  these  preliminary  exercises  much  is  gained.  The 
pupil  becomes  acquainted  with  a  few  of  the  powers  of  the 
instruments  he  is  principally  to  depend  upon  for  his  effects ; 
his  eye  is  trained  to  observe  the  minutest  gradation  in  tone 
or  color ;  he  will  also  soon  perceive  that  color  has  very  dif- 
ferent appearances  when  put  on  full  or  dry,  when  floated, 
blotted,  or  dragged;  and  the  close  observation  that  these 
exercises  occasion  will  eventually  produce  more  refinement 
in  his  work  than  if  he  hastily  dashed  in  his  colors  at 
random." 

The  Duplicate  Picture. 

The  student  who  looks  forward  to  the  coloring  of  photo- 
graphs as  a  life-profession,  may  expect  to  work  upon  speci- 
mens of  all  grades,  and  many  times  with  but  one  in  hand. 
It  is  not  always  practicable  to  assist  his  labors  by  the  aid 
of  a  duplicate  picture. 

The  advantage  of  having  the  duplicate  is,  however,  very 
considerable,  and  it  is  a  good  rule  to  insist,  if  possible,  upon 
one  being  furnished  with  the  picture  to  be  worked  up.  In 
doing  large  photographs,  it  may  be  considered  positively 
necessary  to  have  the  head,  if  nothing  more ;  since,  owing 
to  the  greater  breadth  of  line  and  depth  of  shadow,  there 
is  strong  liability  to  somewhat  alter  the  direction  of  the  one 
or  to  misapprehend  the  other.  Especially  is  this  duplicate 
essential  in  working  Solar  pictures,  in  which  the  definiteness 
of  a  contact  print  is  wholly  wanting,  and  where  the  diffusion 


52 


HOW  TO  PAINT  PHOTOGRAPHS. 


of  line  is  so  much  greater  than  that  which  it  is  designed  the 
pencil  shall  reproduce. 

The  expression  of  the  eye,  the  line  of  the  mouth,  and 
other  points  which  indicate  the  likeness,  may  be  endangered, 
unconsciously,  even  when  care  has  been  exercised ;  but  the 
duplicate,  changeless  before  the  student's  eye,  is  a  preven- 
tive which  should  be  acknowledged  and  used. 

Sometimes  the  gentler  lines  and  undulations  of  the  flesh 
or  drapery  disappear  to  quite  an  extent  beneath  the  wash  of 
local-color,  and  would  be  lost  beyond  recovery  but  for  the 
assistance  of  the  duplicate. 

It  is  preferable  also  to  have  the  duplicate  made  on  albumen 
paper,  because  its  finer  surface  is  more  likely  to  secure  from 
the  negative  those  delicate  markings  which,  on  the  " plain" 
paper,  do  not  appear  at  all,  and  which  may  serve  very  im- 
portant ends  in  completing  the  portrait. 

Furthermore,  the  duplicate  picture  is  your  authority  for 
all  that  has  been  done,  and  in  the  event  of  harsh  criticism 
upon  the  finished  work,  or  denial  of  its  correctness,  it  set- 
tles the  case,  and  "  makes  assurance  doubly  sure." 

Introductory  to  the  Use  of  Colors. 

If  it  were  possible  for  all  photographs  to  be  made  possess- 
ing the  same  degree  of  tone  or  shade  of  blackness,  it  would 
be  an  easier  task  to  guide  the  student  in  the  use  of  those 
colors  applicable  to  the  various  parts  of  the  picture.  But 
the  reverse  of  this  is,  unfortunately,  the  condition  of  things 
with  which  we  have  now  to  deal ;  and  even  an  approxima- 
tion to  so  desirable  a  state  of  photography  as  that  first-men- 
tioned is  the  lot  of  such  only  who  paint  for  pleasure,  and 
who  are  at  liberty  to  select  the  photographs  upon  which  they 
intend  to  work. 

Those,  however,  who  undertake  this  art  professionally, 
will  perhaps  be  called  upon  to-day  to  color  a  photograph 


INTRODUCTORY  TO  THE  USE  OF  COLORS. 


53 


that  may  be  dark  as  night ;  and  to-morrow  another  as  light 
as  noonday.  In  one  the  gradation  of  tones  may  be  lost  in 
blackness  by  over-printing,  and  in  the  other  there  may  be  a 
deficiency  of  shades  from  lack  of  exposure  in  printing.  A 
very  common  drawback  to  the  artist's  complete  success 
arises  from  the  use  of  photographs  which  are  made  "too  in- 
tense,"— the  whites  too  white,  and  the  blacks  too  black, — 
and  it  is  to  be  regretted  that  photographers,  as  a  class,  are 
not  better  informed  as  to  the  qualities  essential  to  a  good 
print  for  coloring. 

In  addition  to  such  deficiencies  and  contrasts  of  shade, 
may  be  mentioned  improprieties  of  tone, — that  is,  the  pres- 
ence of  actual  tints  of  purple,  brown,  indigo,  and  dirty  red ; 
or  yellow,  by  discoloration. 

In  view  of  these  irregularities  which  enter  into  the  daily 
experience  of  photographers  and  artists,  it  would  be  in  vain 
to  say  to  the  student,  "  Do  thus  and  so."  The  alternative 
is  simply  for  us  to  lay  down  a  general  plan  of  coloring ; 
leaving  to  his  own  judgment  and  capabilities  the  adaptation 
of  our  teaching  to  each  picture  he  may  have  in  hand. 

[For  the  reasons  above-mentioned,  it  is  also  plain  that 
very  little  advantage  can  accrue  to  a  beginner  who  studies 
the  various  works  on  legitimate  water-color  painting,  as  they 
all  refer  to  operations  on  clean  white  paper ;  for  he  will  find 
that  he  must  at  last  depend  upon  his  own  perception  and 
judgment.] 

A  few  months'  study  and  practice,  however,  will  render 
the  application  of  the  proper  colors  so  easy  and  familiar, 
that  the  photograph  will  of  itself  suggest  many  of  the  tints 
necessary  to  give  it  depth,  or  relieve  its  blackness. 

When  the  choice  of  the  photograph  is  optional,  we  would 
advise  the  selection  of  a  light  one,  in  preference  to  a  very 
dark  one,  as  the  former  shows  up  the  colors  to  greater  ad- 
vantage, and  is  devoid  of  obstacles  to  the  purity  of  your 
work.    Let  its  general  tone  be  neutral — gray.   It  should  be 

5* 


54 


HOW  TO  PAINT  PHOTOGRAPHS. 


well  defined,  having  the  middle  tones  and  shadows  clear, 
the  background  free  from  blemishes  which  cannot  be  touched 
out  smoothly,  and  should  be,  indeed,  a  good  photograph, — 
a  thing  almost  indispensable  for  beginners. 

Due  attention  should  also  be  given  to  the  suitableness  of 
the  photograph  to  the  complexion  and  hair  of  the  person ; 
one  heavy  and  dark-toned  should  not  be  used  for  a  fair  com- 
plexion and  light  hair,  else  it  may  necessitate  the  use  of 
body  color  in  working,  which  is  very  objectionable.  If,  on 
the  contrary,  the  complexion  and  hair  of  the  original  be 
dark,  the  difficulty  is  considerably  lessened ;  for,  upon  the 
application  of  the  warm  colors,  these  heavy  photographic 
tones  decrease  in  depth,  and  frequently  assume  a  desirable 
shadow  color.  Photographs  of  women  and  children  should, 
in  general,  be  lighter  than  those  of  men,  in  order  that  their 
characteristic  softness  may  be  preserved,  and  more  delicacy 
and  beauty  attained  in  the  painting. 

Flesh-  Washes. 

For  convenience  and  ordinary  practice,  we  may  divide 
the  complexions  of  both  men  and  women  into  three  general 
classes,  respectively,  and  prescribe  the  colors  which  may  be 
used  in  compounding  the  flesh-washes  for  each  sex,  as  fol- 
lows : 

GENERAL  FLESH-WASHES  FOR  MEN. 

1.  Ordinary. — Indian  Yellow,  or  Yellow  Ochre,  and  Vene- 
tian Red. 

2.  Florid. — Indian  Yellow,  Venetian  Red,  and  Pink 
Madder. 

3.  Swarthy. — Yellow,  or  Roman  Ochre,  and  Venetian 
Red;  if  very  dark,  add  Indian  Red;  and  for  a  copper-tone, 
add  Burnt  Sienna. 


FLESH-WASHES. 


55 


GENERAL  FLESH-WASHES  FOR  WOMEN. 

1.  Ordinary. — Indian  Yellow  and  Venetian  Red  or  Ver- 
milion. 

2.  Blonde. — Indian  Yellow  and  Pink  Madder;  or  Vermil- 
ion alone,  if  rightly  applied. 

3.  Brunette. — Yellow  Ochre,  Venetian  Red,  and  Pink 
Madder. 

jjggF^  These  washes  should  always  be  weaker  in  color,  and 
more  limpid  in  quality  for  women  and  children  than  for 
men. 

The  flesh-wash  should  be  thin  and  devoid  of  particles  of 
undissolved  pigment,  and  in  order  to  be  kept  pure,  should 
be  mixed  afresh  for  every  picture.  In  some  cases  a  limpid 
wash  of  Venetian  Red  alone  will  suffice  for  men,  although 
the  addition  of  any  yellow  gives  it  a  mellower  tone.  In  like 
manner  a  thin  wash  of  Vermilion  can  be  used  for  Yery  fair 
complexions  in  women  and  children,  but  its  opacity  and  tur- 
bidness  require  dexterous  handling.  If  a  very  forcible  tinge 
of  Yellow  is  desired,  add  Cadmium,  but  remember  its  won- 
derful power,  and  that  a  very  little  will  suffice. 

In  using  the  flesh-wash  designated  "  ordinary,"  it  may 
sometimes  be  desirable  to  impart  an  additional  roseate  tone, 
especially  to  females ;  in  which  case,  let  the  first  wash  dry, 
and  then  go  over  again  with  a  thin  wash  of  Pink  or  Rose 
Madder. 

Some  artists  use  one  of  the  Yellows  alone  for  the  primary 
wash,  and  afterwards  hatch  and  stipple  all  the  carnations 
and  shadow  colors  upon  this  base.  This  course,  if  used,  is 
perhaps  best  adapted  to  the  more  delicate  treatment  of  chil- 
dren's faces. 

Although  it  is  desirable  to  obtain  a  satisfactory  flesh-wash 
as  a  basis  for  subsequent  manipulation,  it  is  advisable  that 
the  student  should  not  attach  undue  importance  to  it,  as 
his  after-work  must  necessarily  obliterate  its  presence  to  a 
very  great  extent. 


56 


HOW  TO  PAINT  PHOTOGRAPHS. 


Carnation  Tints. 

The  most  proper,  beautiful,  and  durable  carnation  tints 
are  obtained  with  the  Madders,— Pink  and  Rose, — combined 
with  the  Yermilions.  Crimson  Lake  is  %n  objectionable 
color  on  account  of  its  purplish  tone,  and  is  not  permanent. 
Carmine  is  not  only  too  intense,  but  even  more  fugitive  than 
Lake ;  and  its  use  in  flesh  is  not  permissible  except  for  the 
purpose  of  obtaining  a  climax,  should  the  Madders  prove 
inefficient.  The  striking  effect  called  "peachy,"  occurring 
in  children's  cheeks,  is  obtained  by  the  very  delicate  use  of 
Scarlet  Yermilion  worked  into  the  Madders  already  there, 
or  mixed  with  them  when  first  applied ;  but  as  this  color  is 
opaque  and  strong,  it  must  be  handled,  in  this  particular  in- 
stance, very  lightly  and  judiciously. 

In  men's  faces,  the  rosiness  of  the  Madders  and  the  bril- 
liancy of  the  Yermilions  may  need  toning  down,  which  can 
be  done  with  Indian  Red  or  Yenetian  Red. 

Shadow  Colors  for  Flesh. 

Properly  speaking,  there  can  be  no  one  mixture  for  flesh 
shadow-tints,  inasmuch  as  each  shadow,  in  the  face  especi- 
ally, not  only  varies  from  the  others,  but  those  in  one  face 
will  differ  from  those  of  another. 

The  following  combinations,  however,  are  given, — leaving 
to  the  student  their  adaptation  as  he  may  be  able  to  discern, 
according  to  circumstances.  Crimson  Lake  and  Sepia ; 
Cobalt  and  Light  Red;  Madder  Brown;  Cobalt  and  Indian 
Red ;  Olive  Green  and  Pink  Madder ;  Indian  Red  alone ; 
Yandyke  Brown,  and  Sepia,  both  used  as  a  glaze.  In  mixing 
these,  the  warm  color  must  predominate, — the  cold  color 
will  have  its  opportunity  anon,  when  the  grays  are  to  be  ap- 
plied. With  the  foregoing  the  most  important  and  charac- 
teristic shadows  of  the  face  may  be  put  in. 


PAINTING  THE  HAIR. 


57 


Painting  the  Hair. 

Painting  the  hair  is  by  no  means  an  easy  task,  with  re- 
spect to  its  imitation  of  nature.  The  difficulty  consists  not 
so  much  in  the  coloring  as  in  the  drawing,  by  which  is  meant 
those  light  and  heavy  brush-lines  which  give  the  form,  flow, 
and  character  of  the  hair. 

The  disposition  of  every  student  is,  as  it  were,  to  define 
"  each  particular  hair,"  instead  of  breaking  it  up  into  easy- 
looking  masses.  This  error  is  most  likely  to  occur  in  paint- 
ing short  hair,  as  in  the  eyebrows,  mustache,  and  beard;  in 
which  cases  much  care  should  be  used  to  avoid  giving  them 
a  stiff,  wiry  appearance.  The  lines  should  not  be  made  in 
continuous  parallels,  nor  should  the  entire  body  of  hair  be 
painted  so  as  to  look  like  a  solid  skull-cover.  However, 
these  instructions  find  an  exception  in  the  front  hair  of  most 
women  and  young  ladies,  where  the  hair  above  the  line  of 
the  ears  must  be  delineated  with  accuracy  and  smoothness ; 
but  at  the  parting  this  harshness  can  be  somewhat  modified 
by  making  the  hair  to  blend  with  the  scalp. 

Curls  should  not  all  be  perfectly  cylindrical,  as  is  too 
often  seen,  but  made  to  differ  in  size,  shape,  and  direction. 
They  should  fall  in  easy  masses ;  should  never  drop  or  lie 
upon  the  neck  in  continuous  parallels  (like  so  many  pipes) ; 
and  should  never  run  across  the  neck,  producing  a  heavy 
dark  line  separating  the  head  from  the  body !  If  curls  ap- 
pear as  though  arranged  with  precision,  their  stiffness  may 
be  somewhat  remedied  by  the  addition  of  a  few  straggling 
ringlets  thrown  into  the  corners  and  at  the  ends.  A  hard 
contour  of  the  face  may  be  improved  in  like  manner,  by 
breaking  up  the  edge  of  the  hair  with  small  locks  and  ring- 
lets ;  but  make  them  round  and  graceful,  and  devoid  of  the 
appearance  of  single  hairs. 

Whether  to  apply  the  local  color  or  lay  in  the  shadows 
first,  will  depend  entirely  on  the  distinctness  of  the  photo- 


58 


HOW  TO  PAINT  PHOTOGRAPHS. 


graph.  It  is  perhaps  the  best  plan  when  there  are  ringlets, 
curls,  or  (worse  than  all)  frizzles,  to  define  the  principal 
shadows  before  applying  the  wash.  Never  mix  any  opaque 
color  with  the  tint  being  used  for  the  shadows,  as  they  must 
always  be  kept  transparent.  The  high  lights  must  not  be 
put  on  until  the  previous  work  is  dry  ;  then  keep  them  thin, 
working  with  a  bare  pencil,  so  that  the  color  of  the  hair 
may  appear  through  them. 

The  outer  circumference  of  the  hair  should  be  made 
"feathery,"  as  in  nature,  and  not  be  defined  with  such  pre- 
cision as  to  make  the  head  look  pasted  against  the  back- 
ground— especially  when  the  head  is  surrounded  by  cloud- 
ing; therefore  use  Neutral  Tint,  or  gray,  to  give  a  softness 
around  the  outer  edges.  The  softer  the  background  about 
the  head  the  finer  and  clearer  will  be  the  relief  effect. 

The  natural  gloss  of  the  hair  necessitates  the  use  of  gum 
Arabic  water  with  considerable  freedom.  It  can  be  applied 
with  even  additional  strength  in  the  heavy  shadows,  pro- 
ducing depth,  and  imparting  a  general  brilliancy  to  the 
whole.  Very  little  goes  a  great  way,  however,  and  it  must 
be  applied  with  caution,  else  the  effect  will  be  stiff  and 
daubed. 

The  following  directions  are  applicable  to  the  general 
classifications  of 

Colors  for  the  Hair. 

Flaxen  Hair. — Wash  with  Yellow  Ochre,  modified  to 
the  shade,  if  necessary,  with  Roman  Ochre,  and  Sepia. 
Shadow  with  Raw  Umber,  or  Bistre,  which  will  give  the 
greenish  hue  natural  to  the  middle  tones  of  this  hair.  If 
there  are  curls,  the  high  light  on  them  can  be  intensified 
with  Yellow  Ochre  or  Indian  Yellow  with  White.  Associa- 
ted with  blonde  complexions  and  blue  eyes,  this  description 
of  hair  is  sometimes  found  almost  white — vulgarly  denomi- 


COLORS  FOR  THE  HAIR. 


59 


nated  "tow  hair" — in  which  case  use  a  very  pale  wash  of 
Yellow  Ochre.  Raw  Sienna  and  Sepia  also  make  a  beauti- 
ful sober  flaxen  tint,  Sepia  not  being  semi-opaque  like  the 
Ochres.  Shadow  with  the  same,  Sepia  preponderating ; 
and,  if  the  photograph  be  light  and  clear,  the  putting  on  of 
high  lights  may  be  dispensed  with,  leaving  the  local  color  to 
represent  them.  Roman  Sepia  used  very  thinly  makes  an 
excellent  color  for  dark  yellow  flaxen. 

[The  translation  which  flaxen  hair  undergoes  in  photog- 
raphy has  always  been  a  source  of  trouble  to  the  water  col- 
orist.  Being  required  to  produce  a  light  tint  where  the  nega- 
tive has  interposed  the  reverse,  he  discerns  no  alternative 
but  a  free  use  of  body  color ;  or  else  a  previous  working  upon 
the  negative  itself  (with  lead  pencil  or  blue  paint),  in  order 
to  obtain  a  lighter  basis.] 

Auburn,  or  "Golden  Brown"  Hair. — Wash  with  Van- 
dyke Brown,  if  inclining  to  red ;  and  Burnt  Umber,  if  in- 
clining to  yellow.  Shadow  with  Warm  Sepia  and  Sepia. 
Lights  should  be  made  of  a  slight  purple  hue. 

Red  Hair. — Wash  with  Yenetian  Red  and  Yandyke 
Brown  or  Warm  Sepia,  for  a  red  tone ;  Yenetian  Red  and 
Burnt  Sienna,  for  a  yellow  tone.  Shadow  with  Sepia  added 
to  the  local  wash.  For  the  lights,  artists  seem  to  have 
agreed  upon  a  purple  tint  mixed  with  White.  It  would 
seem  more  consistent  to  heighten  the  lights  by  deepening 
the  shadows,  because  it  is  rarely  an  object  of  ambition  to 
possess  hair  of  this  kind.  Its  more  conspicuous  tones  should 
be  subdued,  and  never  exaggerated. 

[The  general  tone  of  so-called  Red  hair  is  rather  Orange, 
and  the  true  philosophy  of  color  would  dictate  that,  if  ex- 
aggeration is  not  desired,  its  complementary,  Blue,  should 
be  kept  as  far  as  possible  from  it.  Despite  this,  however, 
it  is  almost  the  universal  custom  for  ladies  who  possess  this 
color  of  hair  to  wear  blue  bonnets  and  dresses ;  and  artists 


60 


HOW  TO  PAINT  PHOTOGRAPHS. 


are  thus  compelled  to  introduce  this  objectionable  color  into 
their  work,  the  result  being  only  to  heighten  the  fiery  ap- 
pearance of  the  hair-tint.  Green  would  soften  the  force  of 
the  red,  and  be  vastly  preferable.  Correct  taste  would  sug- 
gest to  the  student  that  he  should  neutralize  or  "kill"  it,  by 
placing  white  ribbons  or  bands  near  it,  which  would  make 
it  appear  darker;  or  by  overwhelming  it  by  the  introduction 
of  a  positive  red  among  the  accessories  of  the  picture. 

"  It  is  an  ill  wind  that  does  not  blow  good  to  somebody 
and  so  here,  the  relentless  camera  which  deteriorates  Flaxen 
hair,  improves  Red  hair, — restraining  the  artist's  efforts  to 
render  to  the  former  its  natural  brilliancy,  and  assisting  him 
to  control  the  offensive  prominence  of  the  latter.] 

Light  Brown  Hair. — Wash  with  Bistre  and  Sepia  mixed, 
or  with  Bistre  alone,  if  a  greenish  tone  is  wanted.  Shadow 
with  Sepia.  Other  shades  of  this  hair-color  are  found  in 
Burnt  Umber,  Roman  Sepia,  and  Burnt  Umber  or  Yandyke 
Brown  and  Neutral  Tint  mixed. 

Dark  Brown  Hair. — In  general,  the  local  color  is  found 
in  Sepia  alone,  which  can  be  lowered  still  more  in  tone  by 
the  addition  of  Neutral  Tint.  Shadow  with  same  ;  and  for 
deeper  effects  add  more  Neutral  Tint.  Lights  gray,  put  on 
very  thinly. 

Gray  Hair. — Work  with  India  Ink  and  very  thin  Neutral 
Tint,  which  may  be  warmed  in  accordance  with  the  tint  de- 
sired by  adding  a  little  Sepia.  Shadow  with  Compound 
Black,  the  Sepia  predominating;  and  Lampblack  for  any 
further  depth  and  strength.  Lights  normal  gray,  intensified 
by  Chinese  White. 

[It  may  be  opportune  to  remark,  that  a  white  cap  upon 
the  gray  hair  of  a  lady  will  render  the  gray  less  conspicu- 
ous ;  whilst  the  contiguity  of  black,  as  a  black  cap  or  rib- 
bons, will  render  it  more  apparent  than  may  perhaps  be  d 
sirable.] 


PAINTING  THE  EYES. 


61 


The  White  Hair  of  venerable  old  gentlemen  should  be 
worked  with  gray  formed  of  Cobalt  and  Vandyke  Brown, 
letting  the  brown  appear  most  in  the  retired  parts.  For  the 
few  deeper  lines,  use  India  Ink  or  Neutral  Tint;  the  promi- 
nent white  parts,  Chinese  White.  In  manipulating  this 
hair,  avoid  hard  lines  and  a  bristling  appearance.  A  pure 
white,  silky  effect  will  be  much  more  acceptable,  and  charac- 
teristic of  the  placidity  of  extreme  age. 

Black  Hair. — Although  the  deeper  shades  of  brown  hair 
are  commonly  denominated  "black,"  there  is  still  that  which 
is  known  as  "  Raven  Black."  This  may  be  produced  by  a 
wash  of  the  compound  black  (Indigo,  Lake,  and  Sepia),  but 
of  a  cool  tone.  Or,  if  the  photograph  be  very  dark,  a  strong 
wash  of  Neutral  Tint,  with  a  little  Sepia,  may  suffice,  im- 
parting the  bluish  tone,  as  in  nature.  Shadow  with  Lamp- 
black and  Sepia,  or  the  former  alone.  Lights,  Neutral  Tint 
and  White.  The  shadows  can  be  further  worked  with  gum 
Arabic,  for  strength  and  definition. 

[If  the  natural  gloss  of  the  hair  produced  an  excess  of 
high  light  in  the  photograph,  it  will  be  necessary  to  first  go 
over  this  light  with  a  wash  of  Lampblack:  this  is  not  unfre- 
quently  the  case.] 

Painting  the  Byes. 

The  eye  is  the  life  of  the  face.  Hence,  to  achieve  excel- 
lence in  the  correct  painting  of  this  important  feature,  will 
oblige  the  student  not  only  to  be  an  observer  of  the  various 
descriptions  of  eyes,  but  he  should  also  understand  somer 
thing  of  the  philosophy  of  its  construction  as  the  organ  of 
sight.  Without  this,  there  will  be  a  constant  liability  to 
distort  the  shape  of  the  eye,  and  give  it  a  false  expression. 

In  painting  the  eye, — after  designating  the  line  of  the 
eyelid, — first  draw,  as  finely  as  possible,  the  circumference 
line  of  the  iris  or  colored  portion  of  the  eye.    This  is  advis- 

6 


62 


HOW  TO  PAINT  PHOTOGRAPHS. 


able,  because  it  assists  in  locating  the  pupil  in  the  exact  cen- 
tre ;  and  this  may  now  be  put  in  with  Lampblack,  no  matter 
of  what  color  the  iris  is  to  be.  [An  exception  to  this  rule 
may  sometimes  be  made  in  the  case  of  very  light  blue  or 
gray  eyes,  where  a  jet  black  pupil  might  appear  too  harsh 
and  decided,  especially  if  the  expression  is  soft  and  mild ; 
in  which  case  it  is  better  to  use  Sepia  alone,  or  combined 
with  Neutral  Tint,  for  the  pupil.] 

It  will  be  remembered  that,  as  the  iris  is,  in  general,  par- 
tially hidden  by  the  eyelid,  the  pupil  must  be  located  in  the 
centre,  with  respect  also  to  that  portion  which  is  covered.  It 
should  be  made  somewhat  larger  too  (especially  in  that  eye 
nearest  the  light)  than  it  is  found  in  the  photograph,  where 
it  appears  small,  on  account  of  the  contraction  of  the  iris  as 
aifected  by  the  strong  light  under  which  the  negative  was 
taken. 

[In  some  photographs  it  will  be  found  that  the  light 
striking  the  ball  of  a  rotund  or  protruding  eye,  totally 
covers  and  obliterates  the  pupil,  and  gives  to  the  eye  an  ap- 
pearance of  blindness — particularly  the  case  with  dark  or 
black  eyes.  This  is  a  disgrace  to  the  photographer  and  an 
affliction  to  the  artist,  and  one  of  those  incurable  cases  re- 
ferred to  under  the  head  of  "  Portraiture."  The  moment  a 
pupil  is  introduced,  flatness  occurs,  and  the  expression  is 
altered ;  hence  it  is  better  to  endure  the  fault  than  to  make 
bad  worse  by  endeavoring  to  cure  it.] 

Now  wash  in  the  local  color  of  the  iris,  and  follow  with 
the  shadow-tints,  as  prescribed  hereafter.  By  this  time  the 
high-light  or  white-spot  of  the  eye  has  been  somewhat  oblit- 
erated ;  but  its  exact  position  must  be  remembered,  unless 
there  is  a  duplicate  photograph  by  which  to  guide  the  work- 
ing. If  this  local  color  does  not  entirely  obliterate  the  white- 
spot,  do  so  with  a  slight  use  of  color,  or  Lampblack,  which 
is  opaque.  In  the  absence  of  a  duplicate,  the  intelligent 
student  will,  in  most  cases,  be  able  to  re-locate  the  white- 


PAINTING  THE  EYES. 


63 


spot  by  judging  the  direction  and  manner  in  which  the  light 
falls  upon  the  whole  face  and  picture. 

Our  reason  for  recommending  that  the  white-spot  be 
painted  out  is,  that  in  photographs  it  is  always  too  large! 
and  it  can  be  easily  restored,  with  additional  brilliancy,  by 
using  Chinese  White ;  and  further,  because  it  would  be  an 
excess  of  trouble  to  reduce  it  in  size  by  working  around  it. 

In  adding  the  light-spot,  it  must  be  done  with  a  good 
pointful  of  White,  and  by  a  single  touch — or  at  least  seem 
as  though  it  was  so  done — and  for  this  purpose  a  rather 
blunt  brush  is  preferable.  The  spot  should  be  located  upon 
the  iris,  just  at  the  edge  of  the  pupil,  in  the  direction  whence 
comes  the  light  into  the  eye ;  and  the  student  will  discover 
that  to  place  it  correctly  is  no  less  easy  than  it  is  simple  and 
delicate.  He  will  perhaps  create  many  squinted  and  blind 
eyes  in  his  first  attempts,  but  the  alternative  is  to  paint  out 
with  the  local  or  shadow  color  of  the  iris,  and  try  again. 
The  white-spot  must  not  cover  the  pupil  in  the  least  degree. 
In  the  larger- sized  heads,  however,  it  must  not  be  located 
precisely  in  this  way,  else,  when  viewed  some  distance  off, 
it  will  appear  to  be  on  the  pupil.  Allowance  must  therefore 
be  made  for  this  circumstance. 

That  portion  of  the  iris  which  lies  in  a  direct  line  opposite  • 
the  high  light,  must  be  illuminated,  as  it  is  seen  in  nature, 
and  without  which  the  painted  eye  will  look  opaque  and 
very  dull.  In  most  cases  this  is  done  by  simply  adding 
Chinese  White  to  the  local  color  of  the  iris ;  or  that  part  of 
the  iris  may  be  reserved  light  in  the  previous  shadowing ; 
still,  the  first  method  imparts  the  most  life  and  brilliancy. 

The  sclerotica,  or  "white  of  the  eye"  (as  it  is  commonly 
called),  is  not  to  be  made  white,  or  left  so  in  the  photograph; 
but  modified  with  blue  for  children  and  young  persons ;  a 
pearly  tint  for  middle  life ;  and  a  slight  yellowish  tinge  for 
aged  people.  The  eye  is  also  most  pleasing  when  the  effect 
is  soft ;  therefore,  if  the  edge  of  the  iris  be  too  rigidly  de- 


64 


HOW  TO  PAINT  PHOTOGRAPHS. 


fined  upon  "  the  white,"  it  is  well  to  soften  it  with  gray  or 
Neutral  Tint. 

The  caruncles,  or  red  fleshy  substances  within  the  inner 
corners  of  the  eyes,  will  require  some  bright  color.  Use 
Venetian  Red  and  Pink  Madder,  or  the  Madder  alone.  If 
the  corner  be  dark,  use  Vermilion — carefully.  A  little  cool 
green  may  sometimes  be  stippled  around  the  socket  of  the 
eye ;  and  if  the  upper  lid  be  hanging  (as  in  looking  down), 
touch  the  edge  of  it  with  Indian  Red. 

The  different  colors  of  the  human  eye  may  be  classified  by 
these  general  terms:  Blue,  Gray,  Hazel,  Brown,  and  Black. 
The  pigments  to  be  used  for  each  kind  are  prescribed  as 
follows : 

Colors  for  the  Eyes. 

Blue  Eyes. — If  they  are  light  blue,  use  thin  Cobalt; 
shadow  delicately  with  the  same  and  a  touch  of  Indigo ;  and 
add  White  to  Cobalt  for  the  illuminated  part  of  the  iris — if 
it  is  not  left  sufficiently  clear  in  the  photograph.  If  they 
are  dark  blue,  use  a  deeper  tint  of  Cobalt,  and  shadow  with 
Indigo.  If  "  deeply,  darkly,  beautifully  blue"  (as  are  some 
children's  eyes),  the  effect  can  be  heightened  by  using 
French  Blue ;  but  carefully,  as  it  is  a  powerful  color. 

Gray  Eyes. — Define  them  delicately  with  India  Ink  and 
a  slight  tinge  of  Cobalt.  If  of  a  bluish-gray,  use  Indigo  in 
lieu  of  the  Cobalt.  Add  White  for  the  illuminating.  Gra}' 
eyes  often  change  to  yellow-hazel  as  the  person  grows  older, 
and  are  to  be  painted  in  this  transition  state  by  tinging  the 
illuminated  part  slightly  with  Yellow  Ochre,  which  will  pro- 
duce a  greenish-yellow  tone. 

Light  (or  Yellow)  Hazel  Eyes. — Use  Yellow  Ochre 
and  Neutral  Tint  for  the  local  color.  Shadow  with  Van- 
dyke Brown,  and  illuminate  delicately  with  White  added  to 
the  local. 


PAINTING  THE  CHEEKS. 


65 


Dark  (or  Brown)  Hazel  Eyes. — For  the  local  color,  use 
Vandyke  Brown,  or,  if  the  print  is  dark,  Burnt  Sienna. 
Shadow  with  Sepia.  Illuminate  with  Burnt  Umber  and 
White ;  sometimes  Burnt  Sienna  and  White. 

Black  Eyes. — Although  all  dark-colored  eyes  are  gener- 
ally called  "  black,"  reference  is  now  specially  made  to  that 
description  of  eye  which  has  its  iris  of  so  deep  a  brown  as 
to  be  scarcely  distinguishable  from  the  pupil!  They  are 
peculiar  to  brunettes,  and  people  generally  who  are  from 
tropical  countries.  Use  Sepia  and  Vandyke  Brown  for  the 
local  color.  Shadow  with  the  same  mixed  with  Lampblack. 
Illuminate  with  Burnt  Sienna  and  Chinese  White. 

Painting  the  Cheeks. 

The  nearest  approach  to  the  color  of  the  cheeks  will  be 
found  in  a  mixture  of  Pink  Madder  and  Vermilion,  either 
color  predominating  according  to  the  subject.  It  should  be 
kept  in  mind  that  children  should  have  more  Vermilion, 
adults  more  Pink  Madder,  and  old  people  more  of  a  purple 
tone, — this  last  being  made  by  adding  a  little  Cobalt  to  the 
former  mixture,  provided  the  photograph  itself  does  not  give 
a  bluish  tone. 

Remember  that  the  use  of  Carmine  or  Crimson  Lake  is 
not  recommended  for  carnations  ;  the  one  being  too  bright, 
the  other  too  purple ;  and  both  are  fugitive.  On  the  con- 
trary, all  the  Madders  are  durable,  and  in  every  respect 
better.  Pink  and  Rose  Madder,  seeming  to  differ  only  in 
intensity,  may  be  used  according  to  the  option  of  the 
student.  Either  can  be  used  for  men,  but  Vermilion  should 
be  added  for  women  and  children. 

In  applying  the  carnations,  observe  the -grades  of  color 
and  light  on  the  cheek-bones ;  and  do  not  lay  out  the  cheek- 
tint  in  a  circular,  but  in  a  triangular  form,  having  its  angles 
at  the  temple,  lower  jaw,  and  the  nostrils.  In  no  case  should 

6* 


66 


HOW  TO  PAINT  PHOTOGRAPHS. 


the  carnations  be  washed  on,  but  always  stippled;  and  in 
very  large  pictures  they  can  be  hatched. 

Painting  the  Chin. 

In  nature,  the  chin  being  somewhat  of  a  redder  tone  than 
the  surrounding  color,  it  is  to  be  treated  in  like  manner  as 
the  cheeks,  though  in  a  very  slight  degree ;  and  care  should 
be  used  not  to  commit  the  error  of  over-tinting  this  feature. 

Painting  the  Lips. 

The  upper  lip  being  nearly  always  in  shadow,  is  both 
darker  and  less  bright  in  color  than  the  lower  lip.  If  the 
mouth  in  the  photograph  be  not  too  dark,  use  Indian  Red, 
with  a  little  Crimson  Lake,  for  the  upper  lip ;  if  dark,  use 
Rose  Madder,  heightening  it  (if  necessary)  with  Yermilion. 
For  the  lower  lip,  wash  it  first  with  thin  Vermilion,  or 
Orange  Chrome  and  Rose  Madder,  and  in  either  case  model 
and  shade  it  by  stippling  with  Pink  Madder.  Observe  that, 
in  painting  both  lips,  the  more  distant  parts  are  to  be  less 
vivid  in  color. 

The  lips  of  children  require  more  Vermilion,  and  of  aged 
persons  more  Pink  Madder, — not  unfrequently  approximat- 
ing to  a  purple  hue. 

It  will  be  advantageous  to  remember,  in  using  all  the  car- 
nation tints,  that,  as  these  reds  will  lose  somewhat  of  their 
intensity  by  time,  they  should  be  painted  a  little  brighter 
in  color  than  they  are  in  nature,  to  allow  for  this  loss. 

The  painting  of  the  mouth  is  perhaps  the  most  delicate 
and  hazardous  of  all  the  features,  on  account  of  its  variable- 
ness of  expression.  In  defining  the  partition-line  between 
the  lips,  the  slightest  deviation  will  alter  its  character  and 
damage  the  portrait.  Especially  so  with  the  corners  of  the 
mouth,  wherein  most  of  the  expression  lies.  Consequently, 
it  behooves  the  student  to  study  well  its  distinctive  marks, 


PAINTING  THE  NECK  AND  BOSOM. 


67 


as  photographed,  before  commencing,  and  work  throughout 
with  the  utmost  care. 

Painting  the  Mars. 

In  painting  the  ear,  which  is  semi-transparent,  let  the 
shadows  be  made  warm  and  inclining  to  red.  The  inside  of 
the  ear  should  be  colored  with  Pink  Madder  and  Indian  or 
Venetian  Reds,  and  the  tips  with  Rose  or  Pink  Madder 
alone. 

The  ear  should  always  be  well  toned  down,  in  order  that 
it  may  be  secondary  to  the  more  important  lights.  A  large 
or  prominent  ear  is,  in  nature,  ever  an  ugly,  unsightly  ob- 
ject; it  is  an  organ  without  being  a  feature.  If  practicable, 
it  is  more  judicious  to  partially  cover  it  with  the  hair, — 
which  can  be  done  in  most  pictures  without  materially 
changing  the  drawing. 

Painting  the  Ifeck  and  Bosom. 

The  general  tint  of  the  neck,  it  will  be  observed,  is,  in 
nature,  much  below  the  general  color  of  the  face,  and  inva- 
riably of  a  grayer  tone.  The  flesh-wash  might  therefore  be 
somewhat  reduced  for  the  neck,  and  the  pearly  tints  added 
to  a  more  considerable  degree.  The  clavicles  or  collar-bones, 
peering  through  the  flesh,  are  to  be  sometimes  tinged  slightly 
with  Pink,  but  great  care  should  be  used  to  avoid  rendering 
them  too  distinct  and  angular.  The  shadows  of  the  bosom 
are  .usually  of  a  bluish  tint. 

Although  a  well-curved  neck,  and  round,  plump  shoulders 
do  not,  by  any  means,  appear  in  the  majority  of  photographs 
of  ladies  so  taken,  the  colorist  may  very  safely  assume  the 
privilege  of  correcting  the  drawing  of  his  picture,  so  as  to 
produce  these  desirable  elements  of  physical  beauty.  Few 
ladies  will  object  to  any  roundness  of  the  neck  or  graceful 
droop  of  the  shoulders  which  it  may  be  possible  for  the 


68 


HOW  TO  PAINT  PHOTOGRAPHS. 


artist  to  bestow  on  their  pictures.  Some  delicate  touches 
of  Pink  Madder  can  be  put  on  the  extreme  point  of  the 
shoulders;  whilst  Indian  Red  and  Cobalt  will  serve  to 
shadow  the  flesh  around  the  arm-pit. 

Painting  the  Arms  and  Hands. 

The  foregoing  remarks  apply  somewhat  to  the  painting  of 
the  arms,  although  the  lower  arm  often  partakes  of  a  very 
slight  purple  hue.  Indian  Red  alone  can  be  used  for  the 
first  tints,  working  over  them,  when  necessary,  with  Blue ; 
and  observing  the  reflected  lights,  which  are  always  to  be 
kept  warm.  The  elbows  should  be  tinted  with  Pink  Madder, 
but  delicately;  and  any  disagreeable  angularity  should  be 
rounded  off — as  before  observed,  concerning  the  shoulders. 

The  Hands,  in  most  photographs,  by  reason  of  their  dis- 
tance from  the  focal  point  of  the  camera  (generally  directed 
to  the  face),  are  disagreeably  enlarged;  and  in  most  cases 
partially  shadowed.  For  these  reasons,  it  is  often  desirable 
to  cut  them  down,  shorten  the  fingers,  cover  them  wTith  thin 
drapery,  or  "paint  them  out'7  entirely. 

The  division-lines  of  the  fingers  may  be  drawn  with  Brown 
Madder  and  Pink  Madder,  or  Sepia  and  Crimson  Lake.  The 
tips  of  the  fingers,  the  knuckles,  and  the  outside  of  the 
hands,  are  more  rosy  than  the  other  parts,  and  require  to 
be  hatched  with  a  little  Pink  Madder. 

A  liberal  use  of  Cobalt  in  the  hands  is  also  recommended 
■ — particularly  for  those  of  women  and  children — in  order  to 
attain  clearness,  and  the  appearance  of  veins.  This  effect 
is  also  more  necessary  for  female  hands,  the  skin  of  which 
is  intended  to  seem  very  fair  and  transparent. 

The  general  tone  of  color  in  the  hands  should  be  very 
much  below  that  of  the  face  (except  when  the  head  rests 
upon  one  of  them),  so  that  they  shall  not  first  attract  the 
beholder's  eye — which  ought  to  be  drawn  involuntarily  to 
the  face — the  portrait ! 


GRAYS  AND  PEARLY  TINTS. 


69 


Grays,  Pearly  Tints,  etc. 

The  uneducated  eye  sees  nothing  more  in  the  human 
face  than  the  general  or  local  color  denominated  "flesh;" 
but  among  artists  the  varied  hues  which  go  to  make  up 
the  entire  complexion — in  addition  to  the  shadows  and  car- 
nations— are  known  as  "pearly  tints,"  "grays,"  "middle 
tones,"  &c. 

These,  intervening  between  light  and  shadow,  should 
never  be  made  so  decided  or  violent  as  to  impress  the  spec- 
tator with  the  notion  of  an  actual  presence  of  blue,  or  pur- 
ple, and  sometimes  green;  but  while  the  effect  must  be  com- 
plete, the  tints  themselves  by  which  said  effect  is  obtained 
should  be  worked  in  very  adroitly  and  with  as  much  clean- 
linens  as  possible. 

The  delicate  shadows  of  the  forehead  contain  more  gray 
than  those  of  the  lower  face;  the  half-shadows  under  the 
eyes  are  more  inclined  to  purple;  but  whenever  the  deep 
shadows  blend  into  the  local  flesh  color,  there  will  also  be 
found  a  lilac  or  a  gray,  according  as  the  complexion  is  light 
or  dark.  With  many  artists  the  lilac  or  pearly  tint  is  in  great 
favor,  especially  where  the  complexion  is  delicate  and  the 
skin  transparent,  as  in  children. 

The  various  degrees  of  these  tints  will  be  found  by  mix- 
ing Cobalt  with  Indian  Red  and  Pink  Madder,  to  obtain 
hues  of  lilac,  purple,  and  gray ;  and  these  can  be  neutral- 
ized to  a  cold  tone  by  adding  a  very  little  yellow. 

Neutral  Tint  alone  furnishes  a  beautiful  cool  gray,  and  is 
especially  useful  for  softening  the  edges  of  hair  and  blend- 
ing it  into  the  flesh;  but  Cobalt  should  be  added  as  it  ap- 
proaches the  highest  light.  Much  of  the  gray  effect  is  ob- 
tained by  simply  working  Cobalt  over  the  reds  previously 
laid,  but  this  must  be  done  understandingly,  or  dirtiness  is 
sure  to  result. 

It  will,  perhaps,  surprise  the  student  to  learn  how  much 


70 


HOW  TO  PAINT  PHOTOGRAPHS. 


of  a  good  painting  is  made  up  of  shadows,  gray  and  pearly 
tints,  and  how  far  they  go  towards  forming  one  harmoni- 
ous whole.  Grays  are  not  intended  to  hide  the  local  color, 
but  rather  to  be  passed  over  it  as  a  glaze ;  and,  therefore, 
in  laying  them  on,  particular  care  must  be  taken  that  the 
under-tints  be  not  disturbed ;  otherwise  the  grays  will  be 
muddled  and  rendered  opaque,  which  is  always  to  be  avoid- 
ed, as  it  is  intended  to  show  the  flesh-color  under  them. 

The  student  will  note,  that  the  delicate  blending  of  these 
pearly  tints  into  the  flesh  and  shadows,  gives  softness  and 
rotundit}^  to  the  work;  for,  if  the  shadows  be  left  hard 
against  the  lights,  not  being  duly  graduated  into  them  with 
the  pearly  tint,  the  pictures  will  appear  crude  and  harsh, 
wanting  the  connecting  link  which  these  intermediate  tints 
form. 

These  tints  appear  to  differ  also  according  to  complex- 
ions, but  the  difference  is  carried  more  through  the  local 
color  which  they  are  laid  upon,  than  any  real  alteration  in 
themselves ;  as  a  consequence,  therefore,  wrhen  the  flesh  is 
very  powerful  in  color,  the  grays  must  be  correspondingly 
strong. 

The  following  observations,  by  Prof.  George  Barnard,  are 
no  less  appropriate  than  valuable  in  this  place : 

"  Respecting  the  colors  or  tints  of  flesh  when  examined 
closely,  we  shall,  doubtless,  find  that  many  of  the  most  beau- 
tiful and  delicate  of  the  tones  on  the  human  face  are  refera- 
ble to  the  effect  of  simultaneous  contrasts ;  thus,  at  the  edge 
of  shadows  on  a  skin  of  warm,  rosy  color,  is  observed  a  cool 
gray  and  sometimes  even  a  cool  greenish  tint,  these  becom- 
ing more  particularly  visible  when  the  surface  is  rounded 
like  the  face.  Where  the  light  passes  into  half-light,  or  where 
the  light  and  shade  meet,  there  will  be  these  cool  tones ; 
and,  if  the  complexion  is  red,  they  will,  from  the  comple- 
mentary action,  have  a  tendency  to  green,  however  unnatu- 
ral such  a  tint  may  be  considered  on  the  face.    If  the  com- 


TOUCHES. 


71 


plexion  incline  to  yellow,  or  orange  rather,  the  edge  of  the 
shadow  will  incline  to  bine.  Some  portion  also,  of  these 
peculiar  gray  tints,  may  be  owing  to  the  semi-transparent 
nature  of  the  skin,  as  well  as  the  degree  of  gloss  on  its 
smooth  surface,  which  reflects  the  cool  lights  of  the  sky. 
When  these  slightly  green  or  gray  edges  of  shadows  are 
put  in,  they  must  be  decided  in  their  form  and  position, 
and  pure  in  tone,  or  they  will  lose  all  effect.  If  dirty  or 
undecided,  it  is  almost  needless  to  add  they  are  worse  than 
useless." 

Touches. 

By  the  term  "  touches  "  we  designate  the  darkest  parts  of 
the  features  where  the  expression  is  concentrated,  the  high 
lights,  and  other  salient  points  which  give  life,  spirit,  and 
intelligence  to  the  whole  countenance,  and  decide  its  por- 
trait and  character. 

Some  of  these  must  be  defined  at  first,  in  order  to  pre- 
serve the  drawing  of  the  photograph,  whilst  others  are  to 
be  added  at  the  conclusion,  as  a  coup  de  grace.  Among  the 
former  may  be  mentioned  the  upper  eyelashes,  nostrils,  line 
of  partition  between  the  lips,  and  the  line  under  the  chin 
and  ears.  Burnt  Sienna  and  Brown  Madder,  or  Lake  and 
Sepia,  furnish  mixtures  suitable  for  this  purpose.  When 
the  shadows  are  very  dark  (as  they  are  indeed  too  often), 
use  Yermilion  thinly  to  bring  up  the  dark  parts. 

Among  the  after-touches,  the  points  of  high  light  on  the 
forehead,  and  bridge  and  tip  of  the  nose,  may  be  obtained, 
in  part,  by  rubbing  out  the  flesh-wash  nicely  with  clean 
India-rubber ;  but  this  must  be  done  softly,  so  as  not  to  mar 
the  surface  of  the  paper.  This  effect  may  also  be  further 
heightened  by  applying  Flake  White,  with  great  delicacy. 
The  after-touches  about  the  mouth,  which  is  the  most  change- 
able of  all  the  features,  must  be  very  carefully  done,  as  they 
will  determine  the  general  expression. 


72 


HOW  TO  PAINT  PHOTOGRAPHS. 


Other  of  the  after-touches  in  water  color  painting  are  pro- 
duced by  simply  going  over  the  part  with  a  very  thin  solu- 
tion of  gum  Arabic.  As  water  colors  dry  without  gloss, 
this  application  gives  depth  to  the  extreme  shadows,  and 
adds  a  general  brilliancy ;  but  guard  against  a  tendency  to 
overdo  it,  for,  on  the  whole,  the  less  gum  that  is  used  the 
better.  In  finishing  the  eyes,  hair,  jewelry,  and  anything 
which  has  a  gloss  in  nature,  it  can  be  used  more  freely,  and 
is  indispensable. 

The  Selection  of  Colors  for  Drapery. 

It  is  not  at  all  an  unfrequent  circumstance  that  photo- 
graph painters  are  desired,  and  even  necessitated,  to  choose 
the  colors  for  the  drapery  of  the  work  in  hand ;  although 
the  general  practice  is  to  obtain  full  directions,  on  all  points, 
from  the  originals  or  their  friends.  This  is  decidedly  the 
safest  plan,  as  it  is  not  impossible  that  the  painter  might 
select  a  color  which  the  original  never  wore  (perhaps  dis- 
liked) ;  whereas  the  painter's  duty  aims  to  realize  the  exact 
life-look  of  his  subject. 

The  object  of  all  decoration  in  dress  being  to  improve 
or  set  off  to  the  greatest  advantage  the  personal  appearance 
of  the  wearer,  it  follows  that  the  colors  employed  should  be 
suitable  to  the  complexion,  in  perfect  harmony  with  the  rest 
of  the  attire,  and  have  reference  also  to  age  and  condition. 

In  regard  to  pictures  of  men,  there  is  scarcely  room  for 
choice ;  and  hence  the  student  will  have  no  difficulty  in 
adapting  the  few  sober  colors,  which  the  palette  affords,  in 
addition  to  the  "  customary  suit  of  solemn  black.''  But  for 
pictures  of  women  and  children,  the  opportunity  of  selec- 
tion is  a  great  one,  and  furnishes  ample  scope  for  the  dis- 
play of  knowledge  and  taste. 

For  the  benefit  of  those  who  have  not  previously  regarded 
colors  in  a  scientific  or  artistic  light,  it  may  be  very  proper 


SELECTION  OF  COLORS  FOR  DRAPERY. 


73 


to  add  some  general  directions  relative  to  the  juxtaposition 
of  complexions  and  their  appropriate  drapery-colors. 

The  following  paragraphs  are  condensed  from  the  excel- 
lent treatise  by  M.  E.  Cpievreul,  the  Philosopher  of  Color, 
and  the  best  of  all  authorities  on  this  subject. 

Red  Drapery. — Pink-red  cannot  be  put  in  contact  with 
the  rosiest  complexions  without  causing  them  to  lose  some 
of  their  freshness.  If  it  is  unavoidable,  however,  separate 
the  pink  from  the  skin  in  some  manner ;  and  the  simplest 
way  of  doing  this  is,  to  edge  the  draperies  with  a  bordering 
of  lace  or  tulle,  which  produces  the  effect  of  gray. 

Dark  red  is  less  objectionable  for  certain  complexions 
than  pink-red,  because,  being  higher  than  this  latter,  it 
tends  to  impart  whiteness  to  them  on  account  of  the  con- 
trast of  tone. 

Green  Drapery.  —  A  delicate  green  is  favorable  to  all 
fair  complexions  which  are  deficient  in  rose  tint,  and  which 
may  have  more  imparted  to  them  without  objection.  But 
it  is  not  as  favorable  to  complexions  that  are  more  red  than 
rosy,  nor  to  those  which  have  a  tint  of  orange  mixed  with 
brown,  because  the  red  they  add  to  this  tint  will  be  of  a 
brick-red  hue.  In  the  latter  case  a  dark  green  will  be  less 
objectionable  than  a  delicate  green. 

Yellow  Drapery. — Yellow  imparts  violet  to  a  fair  skin, 
and  for  this  reason  it  is  less  favorable  than  the  delicate 
green.  To  those  complexions  which  are  more  yellowish,  it 
imparts  white ;  but  this  combination  is  very  dull  and  heav3r, 
if  used  for  a  fair  conplexion. 

When  the  skin  is  tinted  more  with  orange  than  yellow, 
we  can  make  it  roseate  by  neutralizing,  the  yellow — which 
makes  it  thus  appropriate  for  brunettes. 

[Pale  yellow  or  greenish-yellow  suits  no  one,  especially 
those  with  pale  complexions.    Its  effect  is  to  diffuse,  by  con- 

7 


74 


HOW  TO  PAINT  PHOTOGRAPHS. 


trast,  a  purple  hue  over  the  complexion,  and  this  is  certainly 
no  addition  to  beauty.] 

Violet  Draperies. — Yiolet,  the  complementary  of  yel- 
low, produces  contrary  effects ;  thus  it  imparts  some  green- 
ish-yellow to  fair  complexions.  It  augments  the  yellow  tint 
of  yellow-and-orange  skins.  The  little  blue  there  may  be  in 
a  complexion  it  makes  green.  Yiolet  is  therefore  one  of  the 
colors  which  harmonize  least  favorably  with  the  skin ;  and 
especially  if  it  is  not  sufficiently  deep  to  whiten  it  by  con- 
trast of  tone.  Mauve,  and  its  varieties,  are  also  included 
in  this  category. 

Blue  Drapery. — Blue  imparts  orange,  which  is  suscepti- 
ble of  allying  itself  favorably  to  white  and  the  light  flesh 
tints  of  fair  complexions,  which  have  already  a  more  or  less 
determined  tint  of  this  color.  Blue,  especially  sky-blue,  is. 
consequently  suitable  to  most  blondes ;  but  will  not  suit 
brunettes,  since  they  have  already  too  much  of  the  orange- 
tint. 

Orange  Drapery. — Orange  is  too  brilliant  to  be  elegant. 
It  renders  fair  complexions  blue — whitens  those  which  have 
an  orange-tint — and  gives  a  green  hue  to  those  of  a  yellow 
tint. 

White  Drapery. — Drapery  of  a  lustreless  white,  such  as 
cambric  muslin,  accords  well  with  a  fresh  complexion,  of 
which  it  relieves  the  rose-color  ;  but  it  is  unsuitable  to  com- 
plexions which  have  a  disagreeable  tint, — because  the  effect 
of  white  is  to  exalt  a  color  by  raising  its  tone — and  hence 
whatever  may  be  objectionable  in  the  flesh-tint,  the  contrast 
with  white  will  only  render  it  more  so. 

Yery  light-textured  fabrics,  however,  such  as  lace  or  open- 
worked  drapery,  produce  an  entirely  different  result.  They 
appear  more  gray  than  white;  the  threads,  which  reflect 
'  light,  and  the  interstices,  which  absorb  it,  producing  the  ef- 
fect of  a  mixed  surface  of  black  and  white.    In  this  respect, 


COLORS  FOR  HEAD-DRESS. 


75 


all  white  drapery  which  allows  the  light  to  pass  through  its 
interstices  must  be  regarded  as  being  gray  rather  than  white, 
and  can  be  used  for  the  purposes  of  gray. 

Black  Drapery. — Black  draperies,  lowering  the  tone  of 
the  colors  with  which  they  are  in.  juxtaposition,  whiten  the 
skin.  But  while  this  lowering  does  not  take  place  to  an}^ 
very  great  extent,  unless  the  black  is  in  actual  contact  with 
the  color,  it  has  the  effect  of  heightening  the  cheeks,  if  the 
white  skin  intervenes ;  the  former  appearing  redder,  and  the 
latter  whiter  than  they  would  if  the  black  drapery  did  not 
exist. 

No  matter  whether  the  complexion  be  dark  or  fair,  the 
color  should  never  be  placed  next  the  skin,  but  should  be 
parted  from  it  by  the  hair  or  by  a  ruche  of  tulle,  which  pro- 
duce the  neutralizing  effect  of  gray. 

Colors  for  Head-Dress. 

If  we  notice  the  tints  which  are  generally  considered  as 
harmonizing  best  with  light  or  dark  hair,  we  will  discover 
that  they  are  those  wThich  produce  the  greatest  contrast. 
Thus,  sky  blue,  which  is  known  to  accord  well  with  blondes, 
is  the  color  approaching  nearest  to  the  complementary  of 
orange,  which  is  (philosophically  considered)  the  basis  of 
the  tint  of  their  hair  and  complexions. 

In  the  same  manner,  yellow,  and  red — more  or  less  orange 
— are  two  colors  which-  accord  very  favorably  with  black 
hair.  These  colors,  yellow  and  orange  red,  contrasting  by 
color  and  brilliancy  with  black ;  and  their  complementaries, 
violet  and  blue  green,  in  mixing  with  the  tint  of  the  hair, 
are  far  from  producing  a  bad  result. 

The  student  will  not  forget,  that  his  colors  must 
be  chosen  as  a  harmonious  vihole ;  for  a  color  may  be  favor- 
ably adapted  to  the  hair,  and  yet  produce  a  disagreeable 
effect  with  the  skin,  and  vice  versa. 


76 


HOW  TO  PAINT  PHOTOGRAPHS. 


Fainting  the  Drapery. 

The  quality  and  sort  of  drapery  being  already  indicated 
in  the  photograph,  the  student  will  find  that  his  special  at- 
tention is  required  while  coloring,  in  order  to  preserve  the 
natural  folds  and  other  general  characteristics  of  the  fabric. 
As  the  application  of  his  local  color  will,  to  a  certain  extent, 
obliterate  many  of  the  lighter  lines  of  the  photograph,  he 
will  also  perceive  how  very  advantageous  it  is  to  possess 
himself  of  a  previous  knowledge  of  the  manner  in  which  va- 
rious fabrics — cloth,  silk,  satin,  velvet,  linen,  damask,  &c. — 
break  up  into  folds  ;  together  with  their  characteristic  lights 
and  shadows. 

This  knowledge  is  furthermore  absolutely  necessary,  from 
the  fact  that  in  many  photographs  the  lights  are  so  intense, 
and  the  shadows  so  deep,  that  all  the  intermediate  lines  dis- 
appear, and  the  student  is  left  to  depend  wholly  on  his  own 
ability  to  supply  the  deficiency.  Indeed,  experience  teaches 
that,  occasionally,  in  restoring  pictures  from  old  'types,  the 
artist  must  supply  the  drapery  entirely. 

With  this  exigency  likely  to  occur,  the  diligent  student 
will  feel  it  a  duty  to  inform  himself  concerning  the  funda- 
mental rules  on  this  subject.  Let  him  remember  that  dra- 
pery is  intended  to  cover,  but  not  hide  the  form ;  and  that 
as  the  inequalities  of  the  stream-bed  are  discoverable  by  the 
rippling  water  that  runs  over  it,  so  the  posture  and  shape 
of  the  members  ought  to  be  discernible  by  the  folds  of  the 
garment  that  covers  them.  The  drapery  should  cover  the 
body  as  if  to  show  it. 

Endeavor  to  comprehend  the  rationale  of  drapery;  how 
the  folds  originate  from  those  points  where  it  is  held,  en- 
larging as  they  recede,  spreading  where  unconfined,  or 
changing  their  course  where  they  meet  with  resistance.  On 
the  whole,  Drapery  is  one  of  the  most  important  branches 
of  our  art,  and  accordingly  demands  attention  and  study — 


PAINTING  THE  DRAPERY. 


77 


contributing  very  materially  to  the  life,  to  the  character,  and 
to  the  success  of  the  picture. 

The  practical  operation  of  drapery-painting  is  reducible 
to  two  General  Methods,  the  choice  being  left  to  the  student, 
who  will  decide  according  to  the  folds,  whether  they  be  dis- 
tinct (1)  or  obscure  (2)  in  the  photograph  on  hand. 

First. — Go  over  the  fabric  with  a  thin  wash  of  the  local 
color,  principally  to  moisten  the  surface.  Then  define  the 
folds,  beginning  wTith  the  larger  ones  which  give  shape  to 
the  masses.  After  these  are  completely  absorbed,  proceed 
with  additional  washes — three  should  suffice  for  any  case — 
until  a  proper  weight  or. body  of  color  has  been  reached;  all 
of  which  must  be  governed  by  the  photograph  itself,  and 
keeping  in  view  the  tone  desired  for  the  drapery  to  be  when 
finished.  Upon  this  basis  the  deeper  shadows  are  to  be 
worked,  before  it  is  entirely  dry,  so  that  their  edges  will 
blend  into  the  local  color.  The  high  lights  should  not  be 
laid  on  until  the  previous  work  is  entirely  dry. 

By  laying  the  washes  one  over  the  other,  as  directed,  (in- 
stead of  applying  the  local  with  its  requisite  strength  at 
once,)  the  effect  of  texture  is  gained,  and  an  evenness  of 
tint,  which  would  not  result  otherwise.  If  the  photograph 
be  very  strong  in  the  shadows,  and  bright  in  the  lights, 
there  will  be  no  necessity  for  defining  the  former  at  all  until 
the  local  color  has  been  decided,  because  (it  may  be  pre- 
sumed,) they  will  be  sufficiently  discernible  through  the 
local  color. 

The  shadow-tint  should,  in  all  cases,  not  be  too  strong  or 
thick,  as  it  is  intended  only  partially  to  obscure  the  local 
color,  not  to  hide  it ;  which  it  would  do  if  it  were  made  too 
powerful,  besides  imparting  a  hard,  patchy  appearance. 

In  shadowing,  never  work  across  the  folds,  but  alwa}^s 
carry  the  brush  in  the  direction  which  they  run  ;  and  from, 
not  to,  the  outline.  A  camel's-hair  brush  is  perhaps  better 
adapted  for  laying  in  the  draperies  than  a  sable  one,  because 

7* 


78 


HOW  TO  PAINT  PHOTOGRAPHS. 


the  color  flows  from  it  more  freely,  and  the  markings  of  the 
brush  are  not  perceptible. 

Second. — This  is  only  a  reverse  manner  of  working,  neces- 
sitated by  the  want  of  definition  in  the  photograph — bad 
focussing,  weak  negatives,  or  over-toning. 

In  this  method,  work  up  the  folds — guided  by  your  du- 
plicate photograph,  which  this  process  renders  necessary  to 
have  at  hand— until  they  are  sufficiently  distinct  to  permit 
a  good  wash  of  the  local  color.  In  order  to  soften  the  edges 
of  the  shadows  in  defining  the  folds,  it  is  preferable  to  lay 
them  out  broadly  at  first,  with  a  rather  thin  tint,  adding  the 
stronger  touches  inside ;  and  others,  if  necessary,  still  inside 
the  last.  There  are  instances,  however,  where  the  edges  of 
the  fabric  overlap,  as  in  gentlemen's  coat-collars,  &c,  when 
harder  lines  should  be  used.  The  student  should  also  guard 
against  too  great  minuteness  in  detailing  every  fold !  He 
must  omit  repetitions  and  continuations,  and  endeavor  to 
maintain  breadth  and  characteristic  variety  of  line. 

The  shadows  being  fully  defined  add  another  wash  or  so, 
of  considerable  strength,  and  the  work  should  be  complete. 

In  making  the  wash  over  a  shadow  already  defined,  it 
must  be  done  at  once,  with  one  sweep,  not  allowing  the 
brush  to  work  back — or  twice  over  the  same  spot — else  the 
shadows  may  wash  up,  and  the  smoothness  of  the  work  be 
destroyed.  Remember  that  each  wash  must  be  completely 
absorbed,  and  partially  dry,  before  another  follows,  and  en- 
tirely dry  before  the  high  lights  are  added. 

As  a  general  rule  in  regard  to  draperies,  it  may  be  re- 
marked that  the  lights  and  the  middle  tints  are  always  cool, 
and  the  shadow  colors  should  be  warm. 

Painting  of  White  Drapery. 

That  portion  of  every  photographic  picture  designated 
(and  intended  to  represent  that  which  was  in  the  original 


PAINTING   OF  WHITE  DRAPERY. 


79 


subject)  "white,"  will  upon  examination,  prove  to  be  any- 
thing but  white.  This  is  readily  discovered  by  laying  a  piece 
of  clean  white  paper  beside  it :  the  discoloration  is  attribu- 
table to  the  action  of  the  various  chemical  processes  which 
the  photograph  must  undergo,  and  somewhat  to  the  print- 
ing. Hence  it  becomes  as  necessary  to  paint  white  (although 
the  picture  is  supposed  to  be  upon  white  paper)  as  it  is  airy 
of  the  acknowledged  colors. 

In  treating  white  drapery :  for  the  middle  shadow  tints 
use  a  gray  composed  of  Cobalt  and  a  little  of  Indian  Red  ; 
or  Cobalt  and  Burnt  Sienna ;  and  the  shadows  with  Cobalt 
and  Vandyke  Brown,  or  Neutral  Tint  and  Yandyke  Brown, 
if  necessary  for  the  deeper  effects.  Another  useful  gray  for 
delicate  shadows  is  made  of  Cobalt,  Raw  Sienna,  and  Rose 
Madder. 

For  all  ordinary  purposes  use  Chinese  White  on  the  high 
lights  ;  although  Flake  White  is  very  often  preferable  (espe- 
cially for  the  smaller  pictures),  as  it  is  more  delicate,  and 
will  not  give  the  lights  such  a  solid  appearance.  In  paint- 
ing laces,  however,  and  all  articles  which  want  the  effect  of 
body,  and  need  to  be  manipulated  with  touches,  Flake  should 
give  place  to  Chinese  White,  the  former  being  deficient  in 
body. 

When  white  drapery  occurs  in  actual  contact  with  any 
other — especially  the  dark  colors,  as  a  linen  bosom  under  a 
black  vest — the  strong  contrast  causes  the  edges  of  each  to 
appear  very  hard.  Consequently  it  becomes  necessary  to 
interpose  a  connecting  tint  that  will  modify  the  harsh  con- 
trast and  give  softness  to  both.  This  can  be  done  by  break- 
ing down  the  edges  of  the  white  with  gray — one  of  the  above- 
mentioned — according  to  circumstances.  White  drapery  is 
usually  modified  by  the  colors  of  surrounding  objects  and 
background,  and  the  shades  and  middle  tones  also  partake  of 
the  same. 


80 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  Use  of  the  Simple  Colors. 
Yellow  Draperies. 

The  principal  of  these  are  as  follows : 

Lemon  Yellow. — Which  may  be  shadowed  with  Roman 
Ochre  and  Vandyke  Brown;  it  is  semi-opaque,  and  does  not 
answer  for  delicate  washes. 

Indian  Yellow. — Which  is  very  warm ;  and  the  shadows 
of  which  should  be  brown,  slightly  purple — Vandyke  Brown 
and  a  little  Purple  Madder. 

Yellow  Ochre. — Which  is  a  pale,  sober  tint ;  the  shadows 
of  which  can  be  made  with  Raw  Umber  and  Roman  Sepia. 

Cadmium. — Which  is  a  rich  orange  tint ;  can  be  shaded 
with  Cadmium  itself,  Burnt  Sienna,  or  Sepia,  for  depth. 

Roman  Ochre. — Which  is  a  brownish-yellow,  semi- 
opaque  ;  and  can  be  shaded  with  Burnt  Sienna  and  Vandyke 
Brown,  using  them  separately  in  the  order  named. 

For  the  high  lights  of  all  yellows,  add  Chinese  White  to 
the  local  color. 

Med  Draperies. 

Under  this  general  head  may  be  classed  three  principal 
divisions,  as  follows : 

Pink. — Is  simply  a  reduction,  with  water  or  Chinese 
White,  of  Lake  or  Carmine ;  although  Rose  or  Pink  Mad- 
der alone  answer  much  better  for  this  color.  It  may  be  deli- 
cately shadowed  with  its  own  stronger  tint,  or  a  lilac  by  add- 
ing Cobalt  to  the  local  color,  and  the  deeper  shadows  with 
Scarlet  Lake.  The  lights  can  be  heightened  with  a  thin 
over-wash  of  Flake  White.  The  delicateness  and  perma- 
nency of  the  Madders  render  them  by  far  the  most  desirable 
for  Pink. 


DRAPERIES — SIMPLE  COLORS. 


81 


Crimson. — Lake  will  be  found  sufficient  for  all  ordinary 
purposes  and  susceptible  of  beautiful  effects.  Carmine  is 
more  brilliant  and  powerful,  though  not  so  desirable.  The 
addition  of  Sepia  will  shadow  the  Lake.  If  Carmine  is  used, 
the  addition  of  Lake  will  do  for  the  lighter  shadows,  and 
Sepia  and  Lake  for  the  heavier ;  sometimes  Vandyke  Brown 
and  a  little  Black.  For  high  lights  in  either  case,  add  White 
to  the  local  color. 

Scarlet. — The  different  hues  can  be  produced  with  the 
Vermilions.  Scarlet  Vermilion  and  Carmine  make  an  ex- 
cellent, but  opaque,  tint ;  whilst  another,  more  transparent — 
for  silks,  &c. — can  be  formed  with  Indian  Yellow  and  Car- 
mine. Vermilion,  if  used  alone,  may  be  increased  in  bright- 
ness by  laying  under  it  a  strong  tint  of  Cadmium  or  Indian 
Yellow.  The  shadows  of  scarlet  may  be  of  Lake  and  Sepia  ; 
and  for  the  high  lights,  add  Indian  Yellow  or  Cadmium  and 
Chinese  White  to  the  local  color. 

The  other  reds,  Light,  Indian,  and  Venetian,  are  not  likely 
to  be  desired  in  photographic  draperies ;  at  least  not  for  gen- 
eral application,  although  they  may  serve  well  as  bases,  and 
as  first-washes  for  other  reds. 

The  lied  parts  having  been  translated  to  dark  in  the  pho- 
tograph— and  which  are  to  be  painted  red  again — are  as- 
sisted by  a  wash  preparatory  to  the  local  color.  Vermilion, 
especially  Scarlet  Vermilion,  and  sometimes  Orange  Chrome, 
may  be  used  to  "kill"  the  blackness.  When  the  picture  is 
to  contain  a  large  quantity  of  red,  it  is  always  best  to  put 
on  the  red  local  before  finishing  the  carnation,  in  order  to 
judge  their  tone. 

Slue  Draperies. 

Excepting  as  an  accessory,  blue  is  regarded  to  be  a  cold, 
disagreeable  color,  and  extremely  difficult  to  harmonize  with 
others ;  at  least  within  the  limits  of  a  photographic  painting. 
Therefore,  if  blue  must  be  used,  the  student  should  endeavor 


82 


HOW  TO  PAINT  PHOTOGRAPHS. 


to  ".kill"  it  as  far  as  possible  with  warm,  brownish  shadows. 
Another  remedy  is,  to  make  the  local  color  negative  or  only 
of  a  blue-fs/i  color ;  and  use  pure  blue  only  in  the  highest 
lights.  Thus,  in  painting  military  uniforms,  the  tone  may 
be  rendered  warm  by  killing  the  mass  of  raw  blue  with  a 
slight  addition  of  Lake.  Blue  is  often  a  favorite  color  with 
ladies,  and  hence,  if  it  is  compulsory  to  paint  a  dress  blue, 
the  colors  of  all  the  accessories  should  be  determined  with 
a  view  to  destroy  its  obtrusive  predominance. 

The  respective  merits  of  the  blues  have  been  elsewhere 
mentioned.  In  draperies  of  this  color  the  lights  and  half- 
lights  are  cold  and  the  shadows  must  be  warmed  with  Lake, 
or  Lake  and  Sepia ;  and  where  the  blue  approaches  purple, 
with  Orange.  Cobalt  may  be  used  for  the  lighter  tints  of 
local  color;  French  Blue  for  the  more  intense,  and  to  this 
add  Indigo  for  the  deepest. 

When  black — black  lace,  for  instance — is  contrasted  with 
a  deep  blue,  the  former  should  be  made  very  warm;  and  in- 
stead of  actual  black,  warm  browns  may  be  used — as  these 
by  contrast  will  appear  black. 

Use  of  the  Compound  Colors  for  Draperies. 

Green. — Is  a  very  powerful  color,  and  a  disagreeable  one 
if  used  in  large  masses.  The  simple  compound  of  a  yellow 
and  blue  will  suffice  in  most  cases,  but  if  variety  is  desired, 
the  different  shades  of  green  may  be  formed  thus :  Indian 
Yellow  with  Indigo,  or  Prussian  Blue,  will  form  good  greens 
(the  Prussian  Blue  making  the  brighter) ;  Gamboge  and  Co- 
,  bait  form  a  pea  or  cold,  light  green;  Gamboge  and  Prussian 
Blue  form  a  sea-green;  Boman  Ochre,  Indigo,  and  Sepia, 
form  a  drab  or  dull  green ;  Indigo  and  Burnt  Sienna  a  rus- 
set green,  which  may  be  warmed  with  Gamboge  or  Indian 
Yellow;  Baw  Sienna  or  Yellow  Ochre  and  Indigo,  a  sober 
green. 


DRAPERIES — COMPOUND  COLORS. 


83 


The  pigment  known  as  Prussian  Green  furnishes  to  hand 
a  splendid  green  for  drapery  ;  and  is  a  beautiful  and  suitable 
tint  for  curtains,  cushions,  and  dark  silk  dresses.  Its  proper 
high  light  is  the  prepared  Emerald  Green,  which  can  be 
still  farther  heightened  with  Chinese  White. 

Purple. — The  various  hues  of  purple — lavender,  violet, 
lilac,  &c. — are  formed  with  the  blues  and  crimsons.  Enough 
has  been  said  of  these,  as  simple  colors,  to  direct  the  stu- 
dent's choice  in  compounding  them.  The  lighter  and  more 
delicate  can  be  produced  with  the  Madders  and  Cobalt ;  the 
darker  and  stronger  with  Carmine  or  Lake  and  Prussian 
Blue  or  Indigo.  French  Blue  and  Crimson  Lake  form  a 
very  bright  and  clear  shade,  which  is  of  great  use.  All  pur- 
ples may  be  subdued  with  Sepia.  Make  the  shadows  with 
local  color  and  Madder  Brown ;  and,  if  they  are  to  be  very 
heavy,  the  dark  shade  may  be  obtained  with  Madder  Brown 
and  Purple  Lake.  High  lights,  local  color  and  Chinese 
White. 

Orange. — The  ordinary  compound  is  formed  in  various 
degrees  by  mixing  the  yellows  with  Vermilion  or  the  Crim- 
sons; and  also  in  the  already  prepared  Orange  Chrome. 
Cadmium,  with  Carmine  and  Lake,  produces  gorgeous 
tones.  Shadows  are  Carmine  or  Lake,  added  to  the  local 
color,  and  qualified  with  warm  Sepia ;  the  lights  require  a 
preponderance  of  White. 

Maroon. — A  very  fine  hue  of  this  color  exists  in  Madder 
Brown  alone.  Others  are  formed  of  Sepia  and  Lake,  with 
or  without  the  addition  of  a  little  Cobalt ;  and  also  with 
Lake  or  Madder  Brown  and  Burnt  Sienna.  Modify  the 
shadows  with  Vand}^ke  Brown  and  Sepia. 

The  Browns. — Under  the  head  of  Pigments,  their  Quali- 
ties and  Adaptations,  much  has  been  said  concerning  the 
various  browns.    It  is  not,  however,  a  generally  desirable 


84 


HOW  TO  PAINT  PHOTOGRAPHS. 


color  for  dress  in  pictures,  and  seldom  used,  except  to  give 
variety,  or  where  its  use  ma}7  be  necessary  on  account  of  the 
number  of  figures  in  the  picture.  The  Browns  as  already 
prepared,  either  alone  or  by  intermixture,  will  suffice,  and 
should  be  selected  according  to  the  photographic  Uase  on 
which  they  are  to  be  laid.  u  Snuff-colored  "  brown,  used  for 
very  old-fashioned  coats,  may  be  found  in  Burnt  Umber  or 
Yenetian  Red  and  Lampblack.  Work  the  shadows  with 
the  deeper  kinds,  lowered,  if  necessary,  with  Neutral  Tint 
or  Lampblack.    For  high  lights  add  White. 

Black. — This  may  almost  be  considered  the  universal 
color  for  male  apparel,  and  is  in  constant  demand  by  the 
photograph  painter.  The  very  best  transparent  black  for 
cloth,  silk,  and  other  black  fabrics  (except  velvet)  is  the 
compound  of  Indigo,  Lake,  and  Sepia,  which,  if  property 
mixed,  and  the  right  tone  obtained,  will  produce  as  fine  a 
color  as  can  be  desired.  Instead  of  Sepia,  the  use  of  Gam- 
boge has  been  advised,  but  the  working  qualities  of  the  for- 
mer are  so  very  superior  to  those  of  the  latter,  that  the  first- 
named  is  most  generally  used. 

The  preparation  of  this  valuable  compound  is  a  matter  of 
no  little  consequence,  and  of  some  difficulty  in  obtaining 
just  the  depth  and  tone  wanted.  To  succeed  well,  the  stu- 
dent will  find  that  it  must  be  done  systematically,  and  that 
if  the  three  are  mixed  together  hodge-podge,  he  will  be  com- 
pelled to  add  a  little  of  one,  and  then  another,  to  obtain  the 
desired  tone — and  dirtiness  will  be  the  result.  Instead  of 
that,  choose  one  of  the  following  methods,  as  suits  best,  and 
proceed  understandingly :  (1.)  With  Indigo  and  Lake  form 
a  deep  purple,  then  add  Sepia  until  a  satisfactory  black  is 
produced.  (2.)  With  Indigo  and  Sepia  make  a  deep  green ; 
neutralize  this  by  adding  Lake.  (3.)  With  Lake  and  Sepia 
make  a  strong  maroon;  neutralize  this  by  adding  Indigo. 
Perhaps  the  chief  difficulty  will  be  in  knowing  just  wlien  to 


GOLD,  JEWELRY,  AND  PRECIOUS  STONES. 


85 


stop  adding  the  color  which  neutralizes  the  others  into  black- 
ness ;  and  to  this  end  the  mixture  should  be  constantly 
stirred  with  a  brush,  so  that  its  depth  and  tone  are  under- 
stood while  the  third  is  being  added. 

The  shadows  are  to  be  worked  with  local  color  used 
strongly,  and  deepened  with  Indigo,  if  necessary.  The 
lights  must  be  put  on  with  pure  gray — Lampblack  and 
White — used  sparingly. 

Lampblack  should  not  be  used  much  in  draperies,  for  the 
simple  reason  that  it  is  opaque  and  will  necessarily  obliter- 
ate the  shadows  of  the  photograph,  whereby  many  of  the 
lines  and  folds  of  the  drapery  would  be  lost.  It  may  be 
used,  however,  for  the  very  deepest  shadows  in  connection 
with  the  compound  black ;  and  also  for  the  local  color  of 
black  velvets — in  which  case  all  the  lights  are  to  be  worked 
on  afterwards  with  normal  gray. 

Gold,  Jewelry,  and  JPreeions  Stones. 

The  gold  ornaments,  almost  inseparable  from  photographs 
of  women,  and  the  buttons  and  tinsel  upon  military  uni- 
forms, should  not  be  painted  too  bright,  as  gold  is  of  a 
rather  quiet  and  unobtrusive  color.  Roman  Ochre  furnishes 
the  best  local  color,  except  for  Etruscan  gold,  which  requires 
Indian  Yellow  as  its  local;  and  the  shadows  may  be  put 
in  with  Burnt  Umber,  and  Burnt  Sienna  for  the  stronger 
touches.  The  high  lights  demand  Indian  Yellow  and  Chi- 
nese White,  on  account  of  their  unmistakable  permanency 
and  brilliant  effect, — and  this  may  be  further  increased  by 
very  small  after-touches  of  pure  White. 

To  delineate. the  ornamental  work  of  gold  jewelry,  there 
is  no  more  effective  manipulation  than  dots,  the  high  lights 
on  which  give  the  appearance  of  raised  points,  carved  sur- 
faces, etc. ;  but  they  should  be  naturally  located  on  the  jew- 
elry, where  it  might  be  supposed  the  surface  would  be  raised, 

8 


86 


HOW  TO  PAINT  PHOTOGRAPHS. 


or  points  occur.  This  is  specially  true  when  the  ornament 
is  small,  or  indistinct ;  these  high-light  dots  are  sufficient  to 
impress  the  imagination  and  create  a  form,  though  none 
really  exists. 

Precious  Stones. — For  the  various  colors  of  the  precious 
stones,  the  student  is  advised  to  examine  the  originals  and 
copy  his  local  color  from  the  stone  itself,  as  instructions 
herewith  may  be  for  the  most  part  insufficient.  The  photo- 
graph will  be  found  to  have  given  a  dark  basis  for  most 
stones,  and  the  use  of  body-color  becomes  necessary.  The 
Red  Corals  will  also  require  preparatory  bases  of  Vermilion. 
Garnets  will  photograph  like  jet,  and  yet  often  be  entirely 
white. 

The  beauty  of  the  stone  nearly  always  centring  in  its  bril- 
liant high  light,  the  student  will  see  that  his  important  task 
is  comprised  in  designating  the  exact  tint  of  these  high  lights, 
which  are  not  always  found  by  adding  Chinese  White  to  the 
local  color.  In  general,  however,  this  is  practicable ;  and 
the  light  should  be  increased  by  an  additional  touch  of  al- 
most pure  white.  Gum  Arabic  should  be  applied  freely,  and 
no  efforts  spared  to  produce  the  most  intense  effect. 

Accessories— General  Remarks. 

Although  the  subject  of  accessories  might,  with  propriety, 
be  included  under  the  general  head  of  Background  Painting, 
it  is  a  subject  of  sufficient  importance  to  merit  a  special 
chapter. 

By  the  term  accessories  is  meant  the  various  auxiliaries  • 
introduced  in  the  picture  to  assist  the  position,  explain  the 
idea,  relieve  the  figure,  etc. — such  as  curtains,  tables,  chairs, 
footstools,  libraries,  flower- vases,  and  whatever  may  be  sug- 
gested by  the  subject  in  hand. 

To  elaborate  these  accessories  overmuch  is  a  very  com- 
mon error  with  beginners,  who  lose  sight  of  the  fact  that  it 


ACCESSORIES. 


87 


detracts  from  the  importance  of  the  figure.  On  the  contrary, 
by  treating  accessories  with  breadth  and  freedom,  and  mass- 
ing them  judiciously,  we  obtain  a  result  at  once  advantage- 
ous to  the  figure,  and  easily  practicable  as  to  finish.  When 
such  an  effect  is  obtained,  there  is  no  difficulty  in  fixing  upon 
the  necessary  degree  of  elaboration,  as  it  is  then  easity  per- 
ceived how  extreme  detail  would  be  injurious.  (The  fore- 
going remarks  apply  as  well  to  Landscape :  there  should  be 
no  precise  definition  of  leaves  in  the  nearest  foliage ;  no  mi- 
nute laying  out  of  branches ;  but  rather  truthfulness  of  form 
and  completeness  in  massing  the  foliage.) 

In  simple  bust  pictures,  the  introduction  of  any  accessory 
is,  to  say  the  least,  injudicious.  Nothing  will  be  more  suit- 
able for  such  pictures  than  a  plain  background ;  but  in 
larger  pictures  some  kind  of  accessory  frequently  becomes 
indispensable.  For  instance,  where  the  arms  are  introduced, 
some  object,  as  a  chair  or  table,  or  both,  may  be  necessary 
to  account  for  the  position  ;  but  it  should  be  constantly  re- 
membered that  unless  the  accessory  does  assist  the  composi- 
tion, or  relate  to  the  age,  position,  or  character  of  the  per- 
son represented,  it  must  be  omitted. 

It  is  not  an  uncommon  thing  to  see  pictures  so  overloaded, 
with  gaudy  bed-furniture  curtains  ;  walls  entirely  covered 
with  lines  and  panels ;  vases  filled  with  artificial  flowers ; 
columns  and  plaster  of  Paris  statues ;  windows,  arches,  old 
fashioned  furniture,  etc.;  while  the  colors  of  these  may  be 
so  glaring,  and  the  details  of  form  so  precise,  that  it  is  well- 
nigh  impossible  to  determine  the  actual  intention  of  the 
photographer  or  the  colorist — whether  it  be  to  display  the 
figure  or  the  accessories! — and  of  course  rendering  the  por- 
trait wholly  a  matter  of  secondary  importance. 

The  accessory  most  usual  in  common  practice,  besides  the 
chair  or  table  which  nearly  all  figure  photographs  contain, 
is  the  introduction  of  a  curtain ;  and  it  must  be  conceded 
that  this  can  be  made  of  very  great  use  in  assisting  the  gen- 


88 


HOW  TO  PAINT  PHOTOGRAPHS. 


eral  effect.  Jn  undertaking  to  put  in  a  curtain,  the  first  im- 
portant thing  is  to  be  able  to  draw  an  outline,  and  obtain 
folds  which  will  really  imitate  nature,  so  as  to  produce  a 
graceful  flow,  and  avoid  stiffness.  After  that,  the  addition 
of  cord  and  tassels,  if  desired,  will  claim  a  like  degree  of 
attention. 

As  already  mentioned  in  the  chapter  on  painting  drapery, 
the  general  line  of  the  folds  and  masses  should  indicate  the 
nature  of  the  fabric;  whether  it  be  intended  for  velvet,  bro- 
cade, cloth,  etc.  Brocade  will  be  more  easily  distinguished 
and  represented  by  the  lines  and  figures  that  should  be 
worked  upon  it — another  point  to  study !  White  lace  cur- 
tains may  sometimes  be  introduced  with  excellent  effect,  but 
must  never  be  painted  as  though  it  was  essential  to  define 
their  every  interstice.  It  will  quite  suffice  to  give  a  certain 
amount  of  detail  along  the  edges  and  on  the  higher  lights, 
but  it  should  be  left  to  the  imagination  to  supply  the  rest. 

Painting  of  Curtains. 

It  being  quite  probable  that  the  student  will  be  employed 
more  on  curtains  than  on  any  other  of  the  various  accesso- 
ries, a  few  practical  methods  for  producing  them  are  here- 
with given : 

Bed  Curtain. — Mark  out  the  folds  and  shadows  with  Se- 
pia ;  then  lay  on  a  wash  of  Carmine  or  Crimson  Lake ;  and 
over  that,  when  dry,  others  of  the  same,  until  a  proper 
strength  is  reached.  Deepen  the  shadows  with  Sepia  and 
Lake,  or  Madder  Brown.  Whenever  it  becomes  necessary 
to  break  down  a  curtain  that  appears  too  glaring,  lower  the 
red  tint  by  hatching  with  broad  touches,  of  Madder  Brown 
— or  still  more,  with  Sepia  alone,  or  with  Lake.  If  that  does 
not  throw  it  back  sufficiently,  hatch  it  with  Blue,  which  will 
make  it  retire  considerably  further.  For  high  lights,  mix 
Chinese  White  with  the  local  color;  or  touch  them  on  with 


CURTAINS — FURNITURE. 


89 


Colored  Crayon  (in  cedar-wood),  or  hard  pastel  of  the  proper 
tint. 

Amber-colored  -  Curtain. — Wash  with  Indian  Yellow  mod- 
ified with  Burnt  Sienna;  shadow  with  Burnt  Sienna,  and 
afterwards  with  Yandyke  Brown  lowered  with  Sepia.  High 
lights,  Indian  Yellow  and  Chinese  White,  or  Yellow  Crayon. 
If  it  is  desired  to  give  it  a  retiring  effect,  paint  a  black  pat- 
tern upon  the  curtain,  or  cross  it  with  fine  diagonal  lines. 

Green  Curtain. — The  already  prepared  Prussian  Green  is 
a  very  good  local  color  for  a  brilliant,  strong  and  cool  tone. 
Shadow  in  the  same  manner  as  for  green  drapery,  using 
Emerald  Green  for  the  high  lights. 

For  other  hues  appropriate  to  curtains,  see  "  Compound 
Colors  for  Draperies ; "  and  bear  in  mind  that  the  Secondary 
hues  are  as  decided  as  strict  judgment  can  permit  for  use  on 
curtains.  The  purer  and  unalloyed  tones  of  yellow,  blue  and 
scarlet-red,  are  too  attractive  for  the  subsidiary  position  of 
a  curtain,  and  would  doubtless  overwhelm  any  figure.  The 
more  grateful  hues  of  purple,  green,  and  brown ;  or  the  Ter- 
tiary Compounds,  and  even  the  neutrals,  will  be  found  much 
more  proper  and  useful. 

Furniture. 

The  wood-work  of  furniture  may  be  represented  as  Ma- 
hogany, Rosewood,  Walnut,  or  Oak,  according  to  the  local 
color  used.  Yenetian  Red  or  Light  Red  will  produce  the 
Mahogany  color;  Crimson  Lake  and  a  little  Sepia  wilt  give 
the  various  tints  of  Rosewood ;  Burnt  Umber,  lowered  with 
Sepia,  will  furnish  the  Walnut  color;  and  for  the  Oak  use 
Yellow  or  Roman  Ochre,  as  the  case  requires.  Warm  Sepia 
and  Lake  also  form  a  good  furniture  tint.  Madder  Brown 
may  sometimes  be  used  when  the  basis  is  dark. 

The  high  lights  on  furniture  are  grayish-blue,  and  should 
be  touched  on  with  distinctness.    A  few  delicate  after- 

8*  ' 


90 


HOW  TO  PAINT  PHOTOGRAPHS. 


touches  of  white  increases  the  brilliancy  of  the  lights,  which 
is  very  essential  in  correctly  representing  the  highly  pol- 
ished wood.  The  free  use  of  Gum  Arabic,  is  as  necessary  to 
imitate  furniture  in  a  picture  as  varnish  is.  to  complete  the 
thing  itself. 

The  color  of  the  velvet,  damask,  or  cloth  furniture- 
cushion,  should  be  discreetly  chosen ;  as,  in  many  pictures, 
it  is  the  only  place  for  the  introduction  of  a  positive  hue 
with  which  to  harmonize  the  flesh  or  drapery.  • 

Carpets  and  Table  Covers. 

These  should,  for  the  most  part,  be  kept  in  great  subjec- 
tion to  the  figure.  If  it  is  decided  to  work  up,  in  detail,  the 
various  parts  of  the  pattern-figure,  the  colors  should  not  be 
applied  with  too  great  nicety  and  precision ;  and  no  attempt 
should  be  made  to  work  out  the  exact  pattern— else  the  re- 
sult will  look  like  a  piece  of  mosaic  work,  and  the  effect  be 
hard  and  disagreeable. 

While  the  student  is  recommended,  as  a  general  rule,  to 
treat  the  figures  of  carpets  indifferently  when  they  occur  in 
shadow,  along  the  edges  of  his  picture,  however,  he  must 
also  be  able  to  concentrate  his  light  in  a  particular  spot  by 
working  out  with  more  distinctness,  and  with  brilliant  col- 
ors, the  pattern  as  defined  by  the  photograph.  With  this 
idea  in  view,  let  him  work  the  carpet  in  full  light  only  at 
the  feet  of  the  figure,  the  borders  being  kept  in  shadow — 
especially  that  which  lies  along  the  bottom  or  front  of  the 
picture.  If  this  is  in  shadow,  and  the  light  kept  up  at  the 
feet  of  the  figure,  it  necessarily  follows  that  the  figure  will 
be  thrown  back,  and  so  placed  as  to  attract  the  eye  instantly, 
involuntarily,  and  pleasurably. 

An  exception  to  the  foregoing  occurs  when  it  is  necessary 
to  make  a  tessellated  floor,  which,  so  far  as  light  and  shadow 
are  concerned,  can  be  regulated  in  the  manner  spoken  of ;  but 


REPETITION  OF  LIGHT  AND  COLOR. 


91 


the  geometrical  drawing,  according  to  the  rules  of  perspec- 
tive, must  be  rigidly  maintained  throughout.  The  tessel- 
lated floor  is  seldom  introduced  into  photographic  paint- 
ings, however,  and  scarcely  demands  particularization  here. 
It  is  mainly  suitable  for  halls,  terraces,  porticos,  etc. 

The  handling  of  the  brush,  in  working  on  carpets,  should, 
as  much  as  possible,  be  performed  with  short  horizontal 
lines  ;  if  the  lines  and  touches  are  perpendicular,  the  carpet 
(or  floor)  will  seem  to  run  up  toward  the  back  part  of  the 
picture. 

The  same  general  ideas  mentioned,  for  curtains  and  car- 
pets, are  equally  applicable  to  table-covers.  The.  student 
will  guard  against  over-finish  and  flatness.  The  part  of  the 
cover  next  the  sitter  alone  should  receive  attention,  suffer- 
ing the  other  side  to  remain  in  shadow.  If  the  cloth  be 
figured,  avoid  such  color  and  detail  as  will  lose  the  hand 
that  may  rest  upon  it.  The  cloth  should  hang  in  easy  folds 
at  the  side,  and  the  tone  of  color  be  subdued  as  it  ap- 
proaches the  floor.  Being  of  minor  importance,  it  should 
comprise  very  little  variety  of  color,  with  the  high  lights 
few. 

Repetition  of  Light  and  Color. 

An  open  window  or  door,  affording  a  glimpse  of  land- 
scape outside,  may  sometimes  be  introduced  to  great  ad- 
vantage, for  the  purpose  of  extending  the  light,  which  would 
otherwise  be  confined  to  the  figure,  as  well  also  for  the  repe- 
tition of  color.  For  instance,  if  the  interior  color  be  dark- 
toned,  the  introduction  of  a  few  warm  tints  into  the  sky  (as 
seen  through  the  window  or  door),  serves  to  repeat  the  color 
of  the  flesh ;  while  other  tints  of  ground  and  foliage  may 
repeat  the  color  of  the  draperies — and  thus,  by  contrast  or 
complementary  effect,  the  value  of  the  whole  is  enhanced. 

Concerning  this  repetition  of  color,  it  may  be  observed, 
that  it  is  not  intended  the  color  is  to  be  repeated  with  ex- 


02 


HOW  TO  PAINT  PHOTOGRAPHS. 


actly  the  same  tint  in  any  case  whatever,  but  by  one  of  its 
kind  in  general.  The  object  of  this  being  to  raise  or  to 
lower  the  tone  of  the  colors  upon  the  figure,  reds,  yellows, 
and  blues  are  to  be  regarded  as  general  colors,  and  not  as 
individual  tints  of  any  one  color. 

Haclzgroimds— General  Remarks. 

A  consideration  of  most  vital  importance  in  the  manage- 
ment of  a  picture,  is  the  background  ;  by  which  term  may 
be  understood  everything  seen  beyond  the  plane  on  which 
the  principal  figure  or  figures  are  arranged. 

It  should,  in  general,  be  of  a  negative  character,  and  re- 
tiring, in  order  to  give  prominence  and  force  to  the  subject 
painted.  It  affords  the  student  an  opportunity  of  showing 
his  originality  in  the  introduction  of  striking  and  ingenious 
devices,  which  shall  add  a  grace  and  interest  to  the  figure, 
— giving  vigor  and  point  to  some  parts,  softness  and  repose 
to  others,  and  union,  harmony,  and  effect  to  the  whole. 
Whatever  is  introduced,  therefore,  should  be  in  perfect 
agreement  with  the  character  of  the  subject  in  hand. 

The  chief  technical  resources  of  background  painting  are 
to  be  found  in  Landscape.  Architecture,  and  Drapery. 

Originally,  it  will  be  found  best  that  the  ground  should 
be  of  a  tone  midway  between  the  highest  lights  and  the 
deepest  shadows  of  the  picture,  in  order  to  give  due  relief 
to  all  parts,  and  produce  the  best  results  in  coloring.  But 
this  is  not  always  the  case,  and,  except  when  the  photo- 
graph has  a  white  ground,  the  student  is  unfortunate  (as 
photograph  painters  usually  are)  in  not  being  able  to  select 
his  tint  of  background,  but  must  yield,  whatever  desire  he 
may  have,  to  the  necessities  of  the  case. 

In  painting  backgrounds,  two  essential  points  are  to  be 
observed — tone  and  color.  The  color  is  to  be  chosen  in  the 
same  manner  as  those  of  draperies,  with  respect  to  the  head 


BACKGROUNDS — GENERAL  REMARKS.  93 


and  figure.  The  tone  must  be  always  different  from  the  mass 
it  supports,  and  of  which  it  is  the  ground,  so  that  the  ob- 
jects coming  upon  it  may  not  seem  transparent,  but  solid 
and  raised — "  relieved."  The  color  of  the  hair  of  the  head 
usually  determines  the  tone  of  the  ground  in  portraits  or 
vignette  pictures. 

When  the  ground  is  neither  a  curtain  or  a  landscape,  but 
is  plain  and  like  a  wall,  it  should  consist  of  broken  tints, 
and  not  of  one  uniform  color,  and  it  should  be  lighter  in 
some  parts  than  others,  so  that  the  figure  may  not  appear 
inlaid. 

After  the  head  and  drapery  are  painted,  it  is  the  back- 
ground which  completes  the  picture,  and  its  use  is  not 
merely  to  throw  out  the  principal  object,  but  (as  before 
mentioned)  to  control  and  harmonize  the  whole. 

The  student  must  ever  remember  this  as  a  standing  rule : 
to  relieve  his  figure  and  accessories  by  placing  light  against 
dark  and  dark  against  light.  Hence,  if  the  head  or  figure 
to  be  painted  has  one  side  of  the  face  in  shadow,  his  back- 
ground must  be  kept  lighter  against  that  side,  and  made 
darker  against  the  other  side  which  has  the  higher  light 
upon  it. 

It  is  also  a  good  plan  to  keep  the  warmest  colors  near  the 
centre  of  the  picture,  and  the  blues  and  colder  colors  out- 
side. 

There  are  two  principal  methods  of  relieving  a  figure:  in 
one  the  light  is  on  the  figure ;  in  the  other,  the  figure  ap- 
pears dark  on  a  light  ground.  For  portraits,  the  former  is 
best  adapted ;  and  the  tint  of  the  background  (the  tone  of 
which  is  always  to  be  kept  low,  in  order  to  throw  out  the 
head),  may  be  varied  through  all  possible  gradations,  from 
the  shadow  thrown  upon  a  light-tinted  wall  to  the  depth  and 
obscurhVy  which  surrounds  a  figure  placed  just  within  an  open 
door.  Light  backgrounds  involve  less  labor,  but  they  have 
not  the  force  of  dark  ones,  for  that  light  will  always  appear 


94 


HOW  TO  PAINT  PHOTOGRAPHS. 


brightest  which  is  surrounded  with  the  most  intense  dark. 
Certain  parts  of  the  figure  may  sometimes  almost  be  lost  in 
the  ground,  whilst  other  parts  should  come  sharply  out  of  it. 

Backgrounds — Practice; I  Directions. 

With  the  foregoing  remarks  upon  the  nature  and  charac- 
teristics of  backgrounds  in  general,  more  special  directions 
for  painting  the  same  may  now  be  given. 

In  general  practice,  it  is  advisable  to  use  negative  grays, 
blues,  and  purples,  especially  for  pictures  of  fair  persons 
and  children.  Dark  complexions  should  have  dark  back- 
grounds, inclining  to  red  or  warm  brown.  Olive  greens 
give  additional  value,  too,  by  throwing  up  the  reds  of  the 
face.  Never  use  a  cold,  blue-green,  although  the  use  of  this 
color  may  otherwise  vary  from  a  yellow-green  to  a  drab. 

The  gray,  blue,  and  purple  tints  above  mentioned,  can  be 
used  to  most  advantage  in  vignette-head  pictures,  to  be 
painted  on  white  grounds.  In  these  instances  the  back- 
ground should  be  made  to  represent  clouds — atmosphere — 
(giving  the  head  an  appearance  as  if  seen  against  the  sky), 
and  can  be  manipulated  as  follows : 

Having  selected  and  prepared  your  cloud-color,  proceed 
with  a  light  tint  of  the  same  over  all  the  space  intended,  re- 
membering to  ky  out  the  edges  with  convolutions  and 
broken  forms,  as  seen  in  nature ;  then,  as  quickly  as  possi- 
ble, go  around  the  edges  of  this  with  a  moist  brush,  absorb- 
ing part  of  the  color,  and,  thereby,  blending  the  cloud-mass 
with  the  clean  paper.  In  doing  this,  break  up  the  upper 
edges  into  delicate  traceries,  but  occasionally  leave  some  of 
the  lower  parts  heavy  in  color,  to  represent  the  shaded  side 
of  the  cloud.  In  laying  the  wash,  occasional  specks  and 
lines  should  be  reserved  white,  like  openings,  which  are 
very  effective  in  the  end. 

When  this  is  absorbed,  lay  on  another  and  darker  tint, 


BACKGROUNDS  PRACTICAL  DIRECTIONS. 


95 


keeping  it  some  distance  within  the  outline  of  the  first 
wash,  but  not  always  at  a  regular  distance.  Neither  should 
there  be  a  uniformity  of  convolution  or  shape,  as  nothing  of 
the  kind  exists  in  the  natural  clouds  which  are  being  imi- 
tated. Add  a  third  and  still  darker  wash,  at  the  proper 
time,  inside  of  the  edge  of  the  second.  Three  washes  are 
amply  sufficient,  although  the  number  and  strength  of  color 
must  always  be  regulated  by  the  work  in  hand. 

Perhaps  one,  or,  at  most,  two  washes  will  be  found  quite 
sufficient  against  the  dark  side  of  the  face  if  three  be  used 
to  relieve  the  light  side ;  they  should  never  be  alike. 

If  the  clouding  is  to  be  composed  of  more  than  one  tint, 
all  must  be  prepared  and  everything  ready  before  commenc- 
ing the  wash  ;  and,  if  tl;e  work  is  to  be  finished  by  hatching, 
the  selection  of  these  wash-tints  must  be  done  not  only  with 
reference  to  the  hatching-color,  but  also  writh  reference  to 
the  subject,  so  as  to  avoid  muddiness  in  the  end. 

For  a  shadow-cloud  (or  rather  a  shadow  upon  the  cloud) 
to  relieve  the  dark  side  of  the  face — just  as  it  would  be 
proper  to  execute  a  shadow  upon  a  wall-background — it 
may  be  necessary  to  increase  the  strength  of  color,  or  use 
an  additional  darker  one. 

[Although  the  foregoing  method  of  producing  back- 
grounds by  washing  is  expeditious,  and  may  suffice  for  pic- 
tures that  are  not  intended  to  be  wrought  finely — and  may 
also  do  for  the  beginner  in  photograph  painting — it  is  in- 
complete, and  lacks  the  artistic  finish  which  is  essential  to 
an  excellent  picture,  especially  a  vignette-head  on  a  white 
ground. 

If,  however,  the  work  is  to  be  elaborate  and  complete,  the 
best  aerial  effect  will  be  obtained  by  hatching  over  the  en- 
tire cloud  surface.  This  will  require  a  very  great  amount 
of  time,  patience,  and  labor;  but,  if  the  proper  handling 
has  been  used,  the  superior  result  will  amply  repay.] 

Cloudings  for  children's  heads  should  be  composed  of 


96 


HOW  TO  PAINT  PHOTOGRAPHS. 


whatever  tints  harmonize  best  with  the  face;,  and  it  will  be 
found  that  a  subdued  green  can  be  introduced  freely  with 
good  effect.  For  women,  the  tints  should  be  more  sedate, 
but  still  fresh  and  variegated ;  and  for  men,  the  cooler  and 
stronger  grays,  drabs,  and  greenish-browns  will  be  appro- 
priate. 

The  shaded  side  of  the  face  is  always  greatly  relieved, 
and  a  good  general  effect  produced,  by  throwing  a  moderate 
shadow  upon  the  clouding  at  a  little  distance  from  the  head, 
as  has  been  previously  mentioned.  It  should  be  worked 
along  the  lower  edge  of  the  clouding,  and,  as  it  were,  seem 
to  rise,  losing  itself  in  the  general  tone  as  it  rises.  If  the 
shaded  side  of  the  face  be  very  dark,  it  can  be  made  to  lose 
one-half  its  blackness  by  putting  in  this  effect  of  shadow- 
cloud  sufficiently  strong ;  but  care  must  be  used,  so  that, 
wThile  a  due  strength  of  color  is  used,  the  idea  of  atmosphere 
be  not  destroyed ;  or,  that  which  is  intended  to  be  aerial 
may  prove  "  of  the  earth,  earthy." 

Indeed,  all  the  hatching  and  stippling,  to  obtain  a  cloud- 
effect,  must  be  done  with  comparatively  faint  but  decided 
lines  and.  touches ;  and  the  former  should  never  intersect 
each  other  at  right  angles,  or  run  too  much  in  parallel  lines. 
Crossed  hatching  lines,  drawn  somewhat  less  than  forty-five 
degrees  from  the  right  and  left  of  a  perpendicular,  produce 
the  aerial  effect,  if  not  too  distinctly  drawn.  They  should 
be  light  or  heavy,  according  to  the  depth  of  the  wash  upon 
which  they  are  worked.  The  edges  of  the  clouds  must 
always  be  lighter  and  more  delicately  handled  than  the 
centre  parts. 

Opaque  Backgrounds. 

Although  it  is  the  practice  of  some  artists  to  surmount 
the  difficulties  arising  from  very  dark  backgrounds  in  the 
photograph,  by  painting  them  entirely  in  u  body  color" 
(mixing  all  the  colors  with  Chinese  White),  the  practice  is 


OPAQUE  BACKGROUNDS. 


97 


considered  inartistic,  and  open  to  many  objections.  It  is 
not  meant  here  that  bocty  color  is  never  to  be  introduced, 
but  the  exclusive  and  entire  use  of  it  is  not  advised. 

Water  color  painting  is,  par  excellence,  a  mode  of  using 
transparent  pigments  on  a  white  ground;  consequently  any 
attempt  to  engraft  the  beauties  or  capabilities  of  other  styles 
totally  different  in  this  important  quality,  cannot  end  other- 
wise than  in  a  loss  of  the  chief  beauty  of  water  colors.  This 
is  the  theory  of  its  application  to  photographic  painting. 

The  handling  of  the  body-color  method  must  necessarily 
be  akin  to  the  practice  of  oil  rather  than  water ;  and  though 
it  gives  more  power  than  the  general  style,  it  causes  a  total 
sacrifice  of  all  the  beauty  of  transparent  color.  It  destroys 
the  general  softness  of  the  picture,  and  is  certain  to  make 
the  head  or  figure  look  "inlaid,"  or  as  if  cut  out  and  pasted 
against  the  ground. 

If  the  background  is  to  be  made  an  important  feature  of 
the  picture,  it  is  infinitely  better  to  have  the  photograph 
taken  with  a  white  ground  at  first ;  or  else  have  the  figure 
cut  out  and  printed  without  the  original  background,  as  all 
photographers  understand.  Then  the  artist  has  a  basis  upon 
which  he  can  exercise  his  choice,  and  a  field  is  opened  to 
him  in  which  to  display  his  ability  in  the  true  style  of  water 
color.  But  when  the  ground  is  to  be  plain  and  of  one  shade, 
very  beautiful  effects  are  afforded  with  soft  pastel,  to  which 
attention  is  now  directed. 

backgrounds  in  Pastel. 

The  objections  generally  urged  to  opaque  grounds  must 
be  yielded  in  this  species  of  work ;  for,  while  there  is  no 
better  way  of  covering  over  a  scratched  or  speckled  surface 
in  the  photograph,  there  is  also  no  other  means  of  produc- 
ing a  new  one  which  can  rival  it  in  evenness  of  tint  or  shade, 
softness  and  atmosphere. 

Perhaps  the  most  valuable  characteristic  of  pastel  is  its 

9 


98 


HOW  TO  PAINT  PHOTOGRAPHS. 


great  use  to  the  artist  when  he  has  in  hand  a  copy  of  some 
old  daguerreotype  that  has  a  horrid  background  of  streaks, 
dust-marks,  scratches,  stains,  etc.  Whether  the  copy  is  to 
be  worked  in  India-Ink  or  color,  he  will  be  surprised  to  find 
how  readily  and  expeditiously  he  can  get  rid  of  an  abomin- 
able task,  in  which,  but  for  pastel,  he  would  be  compelled 
to  exhaust  his  patience  by  stippling  to  smoothness. 

Gray  Pastel — For  India-Ink  Work  First  touch  out 

all  the  spots,  lines,  etc.,  that  appear  white ;  then,  by  washes 
of  Lampblack,  bring  the  photographic  ground  to  about  the 
tone,  or,  if  anything,  darker  than  the  shade  of  the  pastel 
about  to  be  used.  For  this  particular  purpose  Lampblack  is 
superior  to  any  other  pigment,  on  account  of  its  "  body," 
which  creates  a  "tooth  "  on  the  surface,  to  catch  and  hold 
the  pastel  when  subsequently  applied. 

In  preparing  the  ground  for  the  pastel,  it  should  be  done 
as  evenly  as  possible,  and  as  the  powder  is  not  to  be  rubbed 
on  too  thickly,  it  is  plain  that  the  more  equal  in  tint  the 
basis  is  manipulated,  the  smoother  in  surface  and  tone  will 
be  the  finished  ground. 

No  attempt  must  be  made  to  apply  the  pastel  until  the 
washes  have  become  entirely  dry,  else  the  powder  will 
"cake"  instantly,  and  the  wash  will  "rub  up."  Neither 
should  the  fingers  or  hand  be  allowed  to  touch  the  surface, 
when  dry,  as  they  are  likely  to  impart  just  enough  grease 
to  keep  the  pastel  from  adhering ;  indeed,  the  sure  prevent- 
ive is  to  wash  the  finger  or  fingers  intended  to  be  used  in 
rubbing  the  powder. 

Now  crush  the  pastel  to  a  fine  powder  with  the  spatula, 
or  by  rubbing  it  on  a  piece  of  moderately  smooth  board,  or 
card-board,  and  mix  the  shades  according  to  what  the  work 
demands.  Place  the  drawing-board  in  a  horizontal  position, 
or  nearly  so,  and  with  the  spatula  gently  sprinkle  a  quantity 
of  the  powder  upon  the  surface.  Then  apply  it  to  the  part 
previously  washed,  by  rubbing  it  with  the  finger  over  the 


BACKGROUNDS  IN  PASTEL. 


99 


broad  spaces,  and  carry  it  into  such  corners  as  the  finger 
cannot  reach,  with  the  aid  of  a  Stump.  Spread  what  is  there 
as  far  as  it  will  go  before  adding  more,  and  if  the  ground- 
wash  is  even,  it  can  be  rubbed  very  thinly. 

Always  put  on  the  lighter  shades  first,  and  rub  the  darker 
ones  into  them,  finishing  with  the  deepest.  The  finger  should 
be  worked  with  a  circular  motion,  bearing  very  lightly  on 
the  paper,  and  leaving  no  marks  or  any  trace  whatever  of 
how  the  powder  was  applied.  Do  not  press  the  finger  too 
heavily  on  the  powder  when  the  spreading  is  commenced, 
or  it  will  likely  not  spread  well  from  that  particular  spot, 
and  smoothness  will  be  impaired. 

Remember  the  general  rule,  to  apply  the  shades  of  the 
pastel  light  against  the  dark  side  of  the  face  or  figure,  and 
vice  versa ;  and,  if  the  shadow  be  thrown  in  correctly,  the 
effect  will  be  wonderfully  soft  and  atmospheric. 

In  applying  the  pastel  powder,  if  some  of  it  is  accidentally 
rubbed  beyond  the  limits  of  the  space  to  be  covered,  or  upon 
the  figure,  it  can  be  removed  with  a  dry  brush,  or  soft  India 
Rubber,  used  very  lightly. 

About  three  tints  of  normal  gray  (as  it  is  found  in  boxes) 
will  be  sufficient  to  compose  a  good  background  for  India- 
Ink  work ;  but,  instead  of  obtaining  the  very  deepest  tones 
by  use  of  the  soft  pastel,  it  may  be  preferable  to  grind  down 
some  hard,  black  (Conte)  crayon,  which  will  produce  a  less 
sooty  effect. 

To  avoid  the  inlaid  effect,  and  give  nature's  softness  to 
the  outline  of  the  figure,  go  all  around  the  edges  with  a 
moistened  (not  wet)  brush;  this  will  just  sadden  the  tone  of 
the  pastel  where  it  comes  hard  against  the  figure,  and  give 
a  more  pleasing  result. 

Should  it  become  necessary  to  add  other  washes  to  the 
drapery,  curtain,  or  anything  else,  after  the  pastel  has  been 
laid,  be  very  careful  that  the  motion  of  the  brush  shall  keep 
the  flow  of  the  wash  from  the  edges  of  the  part  to  which  it 


100 


HOW  TO  PAINT  PHOTOGRAPHS. 


is  being  applied  ;  otherwise,  if  the  color  strikes  the  pastel,  it 
will  spread  instantly,  and  the  work  be  damaged. 

If  facility  is  once  attained  in  the  application  of  pastel, 
the  student  will  be  not  only  surprised  and  pleased  with  the 
beautiful  finish  which  this  smooth  background  gives  to  his 
picture,  but  also  with  the  very  simple  and  easy  process  by 
which  a  result  so  excellent  was  obtained. 

For  Colored  Work. — The  foregoing  directions  apply 
also  to  the  use  of  Colored  Pastel  in  manipulating  grounds 
for  painted  pictures  ;  except  that,  if  the  finished  ground  is 
to  be  of  a  light  tint,  it  will  be  advisable  to  give  the  paper 
its  required  u  tooth,"  by  adding  a  little  body  color  (Chinese 
White)  to  a  suitably  colored  wash.  If  for  browns  or  stone 
color,  the"  Lampblack  will  answrer  as  well. 

[glT3  Pictures  with  pastel  backgrounds  should  always  be 
set  off  with  a  tvhite-edged  mat,  and  framed  at  once,  to  keep 
them  from  being  touched  or  rubbed,  and  the  dust;  or  be 
wrell  covered  with  tissue  or  soft  Manilla  paper. 

Landscaxje  Backgrounds . 

Landscape  painting  is  an  art  in  itself.  It  is  so  distinct 
and  separate,  as  a  department  of  the  water-color  art,  that 
no  attempt  will  be  made  to  treat  of  it  at  length  here,  and 
the  student  is  advised  to  consult  works  written  especially 
on  this  branch,  or  seek  instruction  from  competent  teach- 
ers. This  book  will,  doubtless,  be  studied  by  many  who 
have  neither  of  those  advantages  by  which  to  obtain  this 
particular  knowledge ;  and  it  may  not  be  amiss,  therefore, 
to  treat  a  few  items  under  this  head,  however  brief  they 
must  necessarily  be. 

In  order  to  obtain  the  forms  with  which  this  description 
of  background  must  be  composed — if  it  is  desired  to  origi- 
nate one  of  his  own,  and  not  to  copy  the  design  of  another 


LANDSCAPE  BACKGROUNDS. 


101 


— there  is  but  one  rule  for  the  student's  guidance :  "  Study 
Nature !  "  and,  as  she  is  read,  so  let  her  be  depicted. 

The  general  design  being  settled,  and  his  drawing  made, 
he  must  endeavor  to  obtain  a  handling  of  the  brush  which 
will  indicate  foliage,  and  varying  according  to  the  peculiar 
characteristics  of  the  tree  or  bush  he  would  represent.  It 
may  be  said,  that  no  two  persons  ever  painted  a  tree  with 
precisely  the  same  feeling.  The  difference  observable  in 
the  representation  of  foliage,  as  painted  by  various  artists, 
is  very  considerable. 

Some  artists  employ  the  color  as  wet  as  possible,  and 
merely  blot  in  the  forms  of  the  trees,  mingling  light  and 
shadow  together,  and  trusting  to  the  lights  intended  to  be 
taken  outrbj  rubbing  with  a  moist  handkerchief,  when  the 
wash  is  dry. 

Others  use  their  color  in  a  state  almost  dry,  and  the  hairs 
of  the  brush,  spread  abroad  like  a  fan,  are  made  use  of  rather 
to  scumble  the  forms  in,  than  to  define  them  properly.  The 
distinguished  English  water-colorist,  Rowbotham,  advises 
that  a  medium  between  these  extremes  is  the  best  to  be  pur- 
sued. 

In  a  former  chapter,  on  the  properties  and  adaptations  of 
pigments,  many  are  spoken  of  as  being  the  constituents  of 
various  greens,  suitable  for  landscape,  to  which  the  student 
can  now  refer,  and,  by  practising  somewhat,  he  will  discover 
their  adaptations  to  the  different  parts  of  the  background. 

He  must  not,  however,  lose  sight  of  the  fact  that  his 
trees,  etc.,  are  only  auxiliary  to  the  idea  centred  in  the 
figure,  and  that  his  landscape  effects  should  be  of  secondary 
importance.  If,  by  study  and  practice,  he  happily  succeeds 
in  obtaining  the  correct  position  and  form  of  natural  objects 
— evincing  in  the  handling  thereof  that  easy,  broad,  and 
"sketchy  "  manner  so  peculiar  to  the  water-color  art — it  will 
be  found  that  comparatively  little  work  is  required  to  fur- 
nish that  which  will  suggest  to  the  imagination  a  much  more 

9* 


102 


HOW  TO  PAINT  PHOTOGRAPHS. 


pleasing  result  than,  with  extraordinary  labo*r,  could  have 
been  produced  to  satisfy  the  eye. 

These  remarks  are  particularly  applicable,  where  it  is  pur- 
posed to  execute  the  landscape  ground  in  one  tint,  as,  for 
instance,  an  India-Ink  picture.  Let  the  figure  be  photo- 
graphed against  a  screen  that  will  produce  an  ordinary  tone 
of  gray ;  then,  with  various  shades  of  Lampblack  washes, 
throw  in  the  forms  of  trees,  shrubbery,  rocks,  water,  vines, 
clouds,  etc.  (according  to  design) ;  strengthen  these  with 
shadow-washes  blotted  in,  deeper  and  various,  according  to 
circumstances.  With  a  smaller  brush  and  thicker  color, 
trace  the  shadows  on  trunks,  branches,  stalks,  stones,  and 
add  the  more  delicate,  as  well  as  decided,  lines  in  the  fore- 
ground ;  remembering  that  the  merest  spots  of  color  and  in- 
difference of  line,  if  aptly  given,  will  appear  to  the. mind's 
eye  as  the  graceful  abandon  of  nature.  The  lights  should 
be  done  with  pure  gray,  and  certain  salient  points  with 
touches  of  Chinese  White.  If  properly  done,  this  method 
will  be  found  quite  useful  and  popular ;  and,  if  the  student 
has  previously  acquired  the  necessary  manipulation  and  the 
ability  to  reproduce  nature's  forms,  he  will  find  itf  more  of 
pleasure  than  labor. 

The  chromo-lithography  of  the  present  day  serves  an  in- 
estimable purpose  to  the  student  who  aims  to  possess  him- 
self with  the  true  ideas  of  landscape  in  water-color,  afford- 
ing constant  opportunities  for  stud3Ting  the  color  and  effects 
of  the  great  English  masters  ;  and  to  a  minute  examination 
and  imitation  of  these  works — as  well  as  the  writings  of 
Barnard,  Penley,  Rowbotham,  and  others — the  more  ambi- 
tious are  referred. 

Beyond  all  question,  the  ability  to  complete  a  good  land- 
scape background  will  demand  of  the  beginner,  as  it  does 
of  the  artist,  study,  attention  to  nature's  forms,  and  care  in 
the  arrangement  of  all  the  parts.  Above  all,  he  should 
endeavor  to  attain  a  degree  of  u  feeling"  for  the  subject, 


GENERAL  METHOD  OF  PAINTING. 


103 


and  imitate  nature ;  not  with  a  mincing  particularity,  but 
with  a  dignity,  ease,  and  breadth,  that  will  bring  the  imagi- 
nation and  the  eye  into  complete  harmony. 

General  Method  of  Painting. 

-  Having  alreacty  given  the  manner  of  painting  the  various 
details,  it  may  be  considered  advisable,  if  not  essential,  to 
recommend  to  beginners  a  general  method  to  be  pursued  in 
treating  the  whole.  Not  that  there  is  (as  in  oil  painting)  a 
certain  order  of  proceeding,  but,  first,  because  this  work 
will  doubtless  be  used  by  persons  having  no  opportunity  to 
witness  the  manipulations  of  professional  colorists ;  and, 
second,  because  it  affords  a  place  to  record  certain  inci- 
dental directions  which  cannot  be  properly  classed  under 
any  other  particular  heading.  It  is  not  intended,  by  any 
means,  to  furnish  an  unalterable  programme,  but  merely  a 
light  upon  the  student's  pathway,  enabling  him,  in  a  little 
while,  to  travel  alone. 

It  may  not  be  inappropriate,  just  here,  to  call  the  student's 
attention  to  a  matter  which,  if  not  of  necessity,  is  certainly  one  of 
advantage,  viz.,  the  order  in  which  his  colors  are  rubbed  on  the  palette ; 
for  a  judicious  and  exact  arrangement,  in  respect  to  the  various  hues 
and  tints,  affords  considerable  assistance  in  after-practice.  In  time, 
the  student  will  be  best  able  to  judge  for  himself,  but,  at  present,  he 
is  recommended  to  place  his  Cobalt  in  proximity  with  Indian  Ked, 
Vandyke  Brown,  Light  Ked,  Pink  Madder,  and  Madder  Brown  ; 
Neutral  Tint  adjoining  Vandyke  Brown  and  Light  Ked  ;  Indian 
Yellow  between  Venetian  Ked  and  Prussian  Blue;  Crimson  Lake 
between  French  Blue  and  a  little  Sepia;  Burnt  Sienna  between  In- 
digo and  Madder  Brown;  Yellow  and  Koman  Ochre  side  by  side ; 
and  the  browns  (the  Sepias,  Umbers,  Bistre,  etc.),  by  themselves — 
those  least  used  on  the  under  side  of  palette.  India-Ink  and  Lamp- 
black on  a  separate  palette ;  also  another  piece  of  porcelain  for  mix- 
tures in  body-color.  These  are  arranged  in  conformity  with  the  mix- 
tures given  generally  in  this  work.  The  Vermilions,  Whites,  Em- 
erald Green,  and  Orange  Chrome  should  be  rubbed  fresh. 


104 


HOW  TO  PAINT  PHOTOGRAPHS. 


L  With  a  clean  brush  and  pure  water,  go  over,  thor- 
oughly, all  the  flesh  parts  of  the  picture. 

2.  Whilst  that  is  becoming  absorbed,  and  partially  dry, 
compound  the  flesh-wash  according  to  the  tint  of  nature — 
keeping  in  view  the  tone  of  the  photograph  (whether  light 
or  dark,  brown  or  purple) — and  apply  it  expeditiously  with 
a  good  large  brush.  Commence  with  the  parting  of  the  hair, 
and,  as  the  wash  flows  down,  carry  it  into  all  the  corners 
and  upon  the  ears ;  but  carefully  avoid  washing  it  inside  the 
line  of  the  eyes.  Keep  an  abundance  of  the  wash-color  afloat 
and  constantly  moving,  so  as  to  avoid  streaks — the  result  of 
too  rapid  absorption  or  drying.  The  rapidity  of  the  flow  can 
be  regulated  by  the  inclination  of  the  board  or  easel.  If  one 
application  of  the  wash  produces  a  too  feeble  tone,  do  not 
apply  the  second  until  the  first  is  thoroughly  absorbed ;  and 
whatever  deficiencies  in  tint  become  apparent  after  the  first 
wash,  should  be  corrected  in  applying  the  second.  As  the  stu- 
dent will  find  the  subsequent  painting  has  the  effect  of  less- 
ening the  strength  of  the  flesh-wash,  it  will  be  found  of  ad- 
vantage, in  the  first  place,  to  compound  it  to  a  degree  over, 
rather  than  under  the  tone  ultimately  desired.  It  will  also 
dry  much  paler,  and,  if  anything,  the  yellow  should  pre- 
dominate. Securing  a  good  flesh-wash  greatly  assists  the 
subsequent  work,  and  the  production  of  a  successful  pic- 
ture. 

3.  Go  over  the  lower  lip  with  a  limpid  wrash  of  Yermil- 
ion ;  if  very  dark,  Rose  Madder  and  a  little  Orange  Chrome 
may  be  used.  Be  careful  to  produce  no  hard  edges.  Indian 
Red  is  the  generally  accepted  color  for  the  upper  lip  (it  being 
for  the  most  part  in  shadow),  and  it  is  often  necessary  to  en- 
liven this  Red  with  Lake,  or  a  previous  w  ash  of  Yermilion. 

4.  Detail  the  most  important  shadows  of  the  face,  and, 
as  near  as  possible,  to  their  full  strength,  with  the  general 
shadow  color,  the  red  predominating.  Many  of  the  shadows, 
particularly  those  under  the  chin,  and  sometimes  the  lighter 


GENERAL  METHOD  OF  PAINTING. 


105 


one  on  the  brow,  can  be  put  in  with  Indian  Red  alone.  The 
other  general  shadows  are  in  the  socket  of  the  eyes,  on  the 
lower  part  of  the  nose,  and  under  it,  and  below  or  behind 
the  ear.  The  shadows  are  to  be  partly  washed  and  partly 
hatched. 

It  is  here  necessary  to  remind  the  student  of  one  very 
essential  point :  Keep  all  the  flesh-shadows  transparent. 
Endeavor  to  manipulate  the  color  so  as  to  be  able  to  look 
into  the  shadow ;  and,  as  photographers  rarely  arrange  their 
screens  so  as  to  save  the  artist  this  labor,  it  is  important 
that  the  matter  be  understood  and  attended  to.  Therefore 
when  blackness  occurs  beneath  the  eyebrows,  under  the 
nose,  behind  the  ear,  under  the  chin,  or  on  the  shaded  side 
of  a  three-quarter  face,  a  thin  wash  of  Yermilion,  Light  or 
Venetian  Red,  will  suffice.  If  the  shadow  is  intensely  dark, 
use  the  color  stronger — avoiding  a  heavy  or  daubed  appear- 
ance— the  Yermilion,  too,  being  opaque.  If  the  shadow  is 
of  an  ordinary  degree,  the  last-named  are  preferable.  If  a 
greenish  tinge  is  wanted  in  the  shadow,  use  a  mixture  of 
Olive  Green  or  Brown  Pink  and  Pink  Madder. 

The  fourth  topic  of  this  chapter  properly  includes  also 
the  reflected  lights,  which  produce  rotundity  of  the  flesh- 
parts.  These  should  always  be  kept  ivarm.  For  this  reflex 
light  occurring  on  the  outer  edge  of  the  shaded  side  of  the 
neck,  and  on  the  shaded  side  of  three-quarter  faces,  use  very 
limpid  Orange  Chrome  with  a  little  Burnt  Sienna;  some- 
times Scarlet  Yermilion  alone. 

5.  Now  proceed  to  draw  the  lines  of  the  eyelid,  which 
may  be  done  with  Burnt  Sienna,  Madder  Brown,  Lake  and 
.  Sepia,  or  Indian  Reel.  The  last  is  best  adapted  for  chil- 
dren. A  mixture  of  the  two  first-named — sometimes  allow- 
ing one  or  the  other  to  predominate,  according  to  circum- 
stances— is  very  useful.  Do  not  draw  the  edge  of  the  lower 
lid  too  distinctly,  as  it  tends  to  make  it  look  contracted, 
and  the  whole  eye  sleepy. 


106 


HOW  TO  PAINT  PHOTOGRAPHS. 


With  one  of  these  mixtures  the  nostrils  ma}7  be  indicated ; 
although  where  thej^are  very  large,  and  transparency  is  re- 
quired in  the  shadowed  cavity,  Yermilion  should  be  used. 
The  partition  line  between  the  lips  may  also  be  drawn,  but 
as  the  exact  course  of  this  line  is  too  often  indefinite,  it  is 
well  to  progress  somewhat  in  otherwise  painting  the  mouth 
before  defining  this  line  with  too  great  exactness ;  the  slight- 
est error,  in  so  doing,  may  alter  the  expression  of  this  sus- 
ceptible feature. 

6.  Paint  the  eyes;  and  as  this  feature  is  "the  light  of  the 
countenance, "  and  the  very  climax  of  the  portrait,  special 
attention  has  already  been  given  (in  a  previous  chapter)  to 
the  manner  of  doing  it  properly.  The  student  need  not  be 
urged  to  the  importance  of  being  able  to  paint  good  eyes,  or 
be  reminded  of  how  far  they  serve  to  make  up  an  excellent 
portrait.  He  may  otherwise  succeed  in  developing  a  good 
picture,  but  badly  painted  eyes  will  always  prevent  his  ren- 
dering a  good  portrait. 

T.  The  coloring  of  the  cheeks,  ear-tips,  chin,  and  the  in- 
troduction of  the  carnations  generally,  may  now  be  done. 
The  lips  having  already  received  a  local  wash,  should  be 
heightened  and  finished  with  Pink  or  Rose  Madder.  The 
partition-line  between  the  lips  and  the  corners  of  the  mouth 
can  now  be  specifically  defined. 

8.  Put  on  the  local  color  of  the  hair,  e}rebrows,  mustache, 
or  beard.  If  the  picture  is  a  large  one,  it  is  best  to  precede 
the  hair- wash  with  one  of  pure  water.  The  form  and  direc- 
tion of  the  hair  is  generally  well  indicated  in  photographs, 
but  as  that  of  the  eyebrow  is  not  (throughout  its  entire 
length),  it  is  well  to  note  here  that  they  differ  somewhat 
from  the  hair  of  the  head ;  and  are  usually  darker.  They 
are  seldom  or  never  perfectly  "arched"  in  nature,  so  that 
to  paint  them  in  that  style  is  palpably  wrong.  They  are 
always  heavier  as  they  approach  the  nose,  and  instead  of 
being  parallel  with  the  eyelids,  they  are  always  nearest  the 


GENERAL  METHOD  OF  PAINTING. 


107 


eye  at  its  inner  angle.  Be  sure  to  avoid  stiffness,  and  the 
wiry  manner  in  which  the  eyebrow  is  too  often  drawn. 

9.  Work  on  the  blue  shadows  over  the  temples,  at  the 
corners  of  the  mouth,  and  under  the  lower  lip — using  Co- 
balt. Also  in  men's  faces,  where  may  occur  the  bluish 
traces  of  a  clean-shaved  beard.  Most  of  this  must  be  done 
by  stippling. 

10.  The  face  being  considerably  advanced,  it  is  time  to 
wash  on  the  local  tint  of  the  background ;  although  some 
may  prefer  doing  this  before  painting  the  hair.  However, 
as  the  hair  still  remains  to  be  finished,  this  operation  may 
be  considered  timely  here.  By  so  doing,  we  can  also  better 
determine  the  depth  of  color  necessary  for  the  face  and 
hair.  The  effect  of  the  untouched  part  of  the  photograph 
around  the  head  is,  to  make  the  colors,  by  contrast,  darker 
than  they  really  are ;  but  let  a  dark  background  be  worked 
in,  and  then  the  flesh  tints,  which,  before  this,  appeared 
dark  enough,  will  now  look  considerably  paler,  as  compared 
with  the  dark  background. 

11.  Whenever  this  is  the  case,  as  it  most  usually  is,  addi- 
tional color  should  be  added  to  the  face;  but  this  time  it 
cannot  be  washed,  and  must  be  hatched  on — the  lines  fol- 
lowing the  direction  of  the  features,  and  never  crossing 
each  other  at  right  angles.  This  exigency  will  remind  the 
student  of  our  former  observation  respecting  the  advantage 
of  a  strong  flesh-wash  at  the  commencement  of  the  work. 

12.  The  principal  shadows  of  the  face  having  been  all  put 
in,  and  the  lights  scrupulously  reserved,  if  it  appears  that 
the  high  lights  on  the  forehead  (the  chief  one),  tip  of  the 
nose,  and  chin,  are  still  insufficient  to  produce  a  good  effect, 
they  can  be  increased  in  clearness  by  a  slight  "rubbing  out" 
of  the  flesh-wash,  with  a  piece  of  very  soft  and  clean  India- 
rubber.  Great  care,  however,  must  be  used  in  this  opera- 
tion, else  the  rubbing — which  should  be  done  by  a  light, 
circular  motion — will  produce  a  hard  edge  around  the  light 


108 


HOW  TO  PAINT  PHOTOGRAPHS. 


spot  obtained ;  whilst  the  surface  of  the  paper  will  also  be 
made  rougher  than  the  rest  of  the  face.  [It  may,  perhaps, 
be  thought  unnecessary  to  cover  up  the  lights  which  are 
afterwards  to  be  taken  out ;  but  it  is  universally  acknowl- 
edged that  lights  taken  out  from  a  body  of  color  are  much 
more  effective  than  those  which  are  left  during  the  paint- 
ing.] This  intensifying  is  sometimes  effected  by  using 
Chinese  White ;  but  it  is  very  heavy,  and  unless  applied 
writh  extreme  delicacy,  produces  a  daubed  effect.  Flake 
White,  possessing  less  body,  would  be  preferable. 

13.  Detail  can  now  be  given  to  the  hair,  whiskers,  mus- 
tache, etc.  Remember  the  former  directions  to  avoid  a  stiff 
and  wiry  appearance  of  the  lines.  Such  stray  locks  as  may 
lie  against  the  face  should  be  worked  in  a  soft  manner,  using 
the  color  with  less  strength,  and  leaving  no  hard  edge-lines. 
Where  the  hair  is  made  to  commence  at  the  roots,  at  the 
parting,  and  along  the  temples  and  ears,  paint  with  delicacy 
(always  working  from  the  roots),  so  as  to  almost  blend  the 
hair  with  the  flesh.  Soften  with  gray  the  entire  line  of  the 
hair  around  the  face.  Also  give  some  horizontal  touches  of 
strong  color  in  the  eyebrows,  where  they  approach  the  nose, 
or  where  the  hair  naturally  grows  the  thickest.  If  what  has 
already  been  done  in  the  background  is  sufficient,  the  out- 
line of  the  head  may  now  be  softened,  to  avoid  the  effect  of 
appearing  "inlaid." 

14.  A  general  examination  and  correction  may  now  be 
given  to  the  entire  face.  Soften  and  round  such  parts  as 
still  require  it.  Remember  that  shadows  indicate  the  form  ; 
therefore  see  that  the  stronger  ones  are  very  full  and  warm 
in  color,  accurate  in  form,  and  let  every  shadow  have  a  gray 
edge.  Keep  the  half-tints  broad  and  cool.  If  any  of  the 
shadows  have  been  made  too  purple,  neutralize  them  with 
green;  if  too  green,  work  on  them  with  purple;  if  too  blue, 
hatch  them  with  orange  (Venetian  Red  and  Yellow).  The 
deep  shadow  under  the  chin  may  have  a  little  Sepia  with  it. 


GENERAL  METHOD  OF  PAINTING. 


109 


If  the  hatching  has  been  done  with  a  too  wiry  effect,  work 
very  lightly  over  it  with  a  brush  just  moistened  in  plain 
water,  to  blend  and  soften  the  lines. 

Although  there  is  a  little  of  the  greenish  tint  in  nearly  all 
faces,  it  is  noticeable  that  some  contain  a  great  deal — espe- 
cially those  of*  women  and  children,  where  it  serves  greatly 
to  enhance  the  carnations.  The  edge  of  the  shadow  on  the 
forehead  is  sometimes  greenish,  and  in  female  faces  it  may 
be  introduced  delicately  on  the  neck,  and  in  rounding  the 
cheeks  and  chin.  In  like  manner  it  may  be  used  at  the 
angles  of  the  eyebrows  and  nose.  In  compounding  a  green 
for  this  purpose,  make  it  of  a  rather  yellowish  tone.  [In 
recommending  the  use  of  green,  however,  we  desire  to  ex- 
plain to  the  student  that  this  color  is  not  to  be  used  with 
such  force  as  to  give  to  any  part  of  the  flesh  an  actual  green 
tone,  but  a  merely  gveeu-ish  one ;  and  he  should  guard 
against  the  habit  of  its  over-use.  Nothing  is  more  distaste- 
ful to  a  discriminating  eye  than  this  abuse  of  green,  because 
it  suggests  disease.] 

Strengthen  the  touches  if  necessary;  but  exercise  care 
in  giving  definition  to  these,  lest  the  expression  become 
changed.  Perhaps  the  carnations  need  intensifying,  and  the 
lips  some  additional  roseate  hue.  Endeavor  to  .give  these 
last  touches  on  the  cheeks  in  the  spot  wdiich  seems  to  be  the 
very  outer  point,  and  where  the  color  naturally  reaches  a 
climax.  In  females,  and  more  particularly  in  children,  these 
few  touches,  if  done  properly  with  Pink  Madder  and  a  very 
little  Scarlet  Vermilion,  will  produce  that  delicious  effect 
termed  "waxy"  or  "peachy." 

15.  The  face  being  now  actually  colored,  it  needs  a  gen- 
eral finishing  and  softening  with  the  "cool  gray  tint," — Co- 
balt and  Indian  Red — or  Cobalt  and  Pink  Madder,  the 
"pearly"  tint.  Make  all  retiring  and  rounded  parts  gray.* 
The  general  tint  of  the  neck  being  paler  than  that  of  the 
face,  its  shadows  are  also  to  be  made  cooler.    This  will  ne- 

10 


110 


HOW  TO  PAINT  PHOTOGRAPHS. 


cessitate  a  liberal  use  of  the  gray  before-mentioned,  which 
should  be  of  a  bluish  tint  as  its  application  nears  the  bosom, 
and  upon  the  light  side  of  the  neck.  Perhaps  the  working 
of  Cobalt  alone  over  the  Indian  Red  shadows  will  give  the 
desired  gray  tone  in  many  places.  It  is  not  only  proper,  but 
important  to  remind  the  student  that  a  clean  and  bright 
gray  tone  will  only  result  when  the  blue  is  worked  upon  the 
red ;  but  if  in  the  opposite  order,  the  gray  will  be  muddy 
and  bad.  This  gray  should  be  used  plentifully  around  the 
eyebrows,  and  every  place  where  the  hair  comes  in  contact 
with  the  flesh,  in  order  to  prevent  harshness.  The  outer  ter- 
minations of  the  eyebrows  may  be  so  worked  with  gray  as 
to  appear  lost  in  the  flesh. 

16.  Attention  should  now  be  given  to  the  painting  of  the 
drapery ;  but,  as  full  directions  have  been  given  elsewhere, 
it  is  unnecessary  to  enlarge  upon  it  here.  However,  atten- 
tion has  not  yet  been  directed  to  the  fact  that  rows  of  but- 
tons, etc. — especially  prominent  on  women's  and  children's 
dress — increase  in  size  as  they  become  distant  from  the  fo- 
cal point,  the  face.  Remember  to  correct  this  faulty  draw- 
ing and  define  them  alike  in  size. 

As  a  cardinal  rule,  the  student  should  never  "  kill "  the 
flesh  by  the  selection  of  an  improper  color  for  the  drapery, 
but  rather  choose  such  as  will  harmonize  with  and  enhance 
the  tone  of  the  flesh  and  improve  the  figure. 

n.  It  may  appear  singular  to  the  student,  that  nothing- 
has  thus  far  been  said  respecting  the  arms  and  hands,  ex- 
cept to  assume  that  they  have  already  received  the  flesh- 
wash  as  noticed  in  Section  2.  Our  reason  is,  that  when  the 
photograph  contains  arms  and  hands,  it  is  preferable  to  re- 
serve the  painting  of  them  until  (at  least)  the  local  color 
has  been  given  to  the  surrounding  drapery — or  even  until 
it  is  finished,  as,  by  so  doing,  the  proper  degree  of  color  is 
more  likely  to  be  obtained  at  a  single  painting.  If  painted 
before,  instead  of  after,  the  probabilities  are  that  the  strength 


GENERAL  METHOD  OF  PAINTING. 


Ill 


of  the  drapery-color  has  rendered  the  flesh-tint  too  feeble, 
and  the  work  will  have  to  be  gone  over  a  second  time.  Di- 
rections for  the  painting  of  these  having  been  given  fully 
elsewhere,  it  only  remains  to  add  here,  that  all  the  edges 
should  be  softened  against  the  drapery,  and  kept  of  a  tone 
subservient  to  that  of  the  face. 

[Indeed,  it  is  a  rare  thing  in  photographic  portraits,  that 
the  hands  and  arms  are  found  sufficiently  well  posed  and 
proportioned  to  add  any  beauty  to  the  whole ;  but,  on  the 
contrary  are,  for  the  most  part,  too  large  in  men,  and  so 
lanky  and  angular  in  women,  as  to  puzzle  both  photographer 
and  artist  to  render  them,  in  any  degree,  picturesque.] 

18.  Painting  chairs  or  table-covers,  the  introduction  of 
curtains  or  other  accessories,  and  a  general  finishing  of  the 
background,  will  almost  conclude  the  student's  labors.  In 
so  doing,  he  will  remember  to  soften  the  entire  edge  of  the 
head  and  figure  against  the  background,  and  preserve  such 
a  unity  of  idea  that  the  eye  of  the  spectator  is  drawn  invol- 
untarily to  the  portrait,  and  not  misled  by  any  over- 
colored  accessory.  It  is  opportune,  also,  to  warn  the  stu- 
dent against  bad  taste  in  breaking  down  his  picture  with 
too  many  accessories,  or  too  much  elaboration  in  the  back- 
ground :  remembering  that  it  is  only  proper  to  add  curtains, 
carpets,  and  the  like,  when  it  is  desirable  or  necessary  to  as- 
sist the  position,  or  introduce  a  color  as  complementary  to 
the  drapery  of  the  figure,  and,  therefore,  give  it  additional 
beauty  and  power. 

19.  The  work  of  painting  being  now  finished,  thin  Gum 
Water  may  be  applied  where  it  is  necessary  to  produce  bril- 
liancy, and  to  give  depth  to  the  extreme  shadows.  But, 
as  heretofore  advised,  it  must  be  used  with  great  caution, 
in  order  to  avoid  harshness  and  a  vulgar  effect.  The  less 
that  is  used  the  better. 

Sometimes  the  surface  to  be  painted  contains  small  specks, 
little  discolorations,  or  foreign  matter  in  the  paper,  which 


112 


HOW  TO  PAINT  PHOTOGRAPHS. 


must  be  got  rid  of;  and  which,  if  they  have  not  been 
totally  obliterated  in  the  process  of  coloring,  should  be 
touched  out  of  sight  with  opaque  color,  Flake  or  Chinese 
White,  tinted  to  suit  the  locality ;  but  this  operation  must 
be  clone  with  great  delicacy,  and  the  color  used  not  too 
heavy,  else  the  touches  will  have  the  appearance  of  pimples. 
Frequently  it  becomes  necessary  to  use  the  eraser,  after 
which  the  spot  must  be  burnished  down,  and  sometimes  re- 
touched with  body-color. 

20.  In  conclusion,  the  attention  of  the  student  is  called 
to  the  fact  that,  as  he  is  supposed  to  have  been  gazing  unin- 
.  terruptedly  at  the  picture  before  him,  the  eye  is  apt  to 
weary,  and  he  may  overlook  deficiencies  which  he  would 
readily  detect  at  another  time  with  his  vision  afresh. 
Therefore,  it  is  recommended  him  to  ease  his  eye  by  re- 
versing the  position  of  his  picture,  which  can  be  done  con- 
veniently by  viewing  it  in  a  mirror,  and,  this  being  done, 
he  will  not  only  find  the  change  agreeable  to  his  eye,  but  he 
will  also  be  the  better  able  to  discover  any  existing  faults, 
which,  otherwise,  might  have  passed  unnoticed.  The  use 
of  the  mirror  is  especially  an  excellent  method  of  testing  the 
correctness  of  his  drawing  in  the  background  and  accesso- 
ries. 

Indeed,  during  the  whole  work — say  about  once  every 
hour — it  is  advantageous  to  leave  the  easel,  or  cast  the  eye 
upon  something  else,  for  a  few  minutes ;  thereby  relieving 
the  strain  upon  its  focus  and  giving  it  rest.  Furthermore, 
after  looking  some  time  at  a  color  the  retina  becomes  fa- 
tigued, and  to  a  certain  degree  incapable  of  seeing  it  as  it  is ; 
wherefore,  unless  it  can  be  restored  by  looking  at  the  color 
compensatory  to  that  by  which  the  strength  was  impaired, 
rest  must  be  had. 

Note. — The  foregoing  chapter  has  been  written  on  the 
supposition  that  there  has  been  but  one  copy  of  the  photo- 
graph in  hand,  because  it  is  more  desirable  that  the  stu- 


WORKING  IN  INDIA-INK. 


113 


dent  should  exercise  care  with  one  than  indifference  with 
two.  Nevertheless,  the  advantage  of  a  duplicate,  when  it 
can  be  had,  is  important,  and  which,  if  it  does  no  good,  it 
.certainly  can  do  no  harm. 

Working  in  India-Ink. 

To  those  who  are  not  conversant  with  the  details  of  a  pho- 
tographer's labors,  we  may  say,  that  very  few  negatives  are 
manipulated  so  perfectly  as  to  render  the  prints  made  from 
them  totally  free  from  speck  or  blemish,  however  slight. 
These  imperfections,  arising  from  the  use  of  indifferent 
chemicals  and  bad  handling,  and  sometimes  from  causes  be- 
yond the  operator's  knowledge  and  control,  are  much  more 
likely  to  appear  in  the  production  of  large  than  in  small- 
sized  negatives  and  pictures. 

The  presence  of  these  imperfections,  and  the  consequent 
necessity  of  "  touching  them  out "  of  sight  in  the  photograph, 
doubtless  give  rise  to  that  description  of  artistic  labor  of 
which  this  chapter  treats.  Commencing  as  a  simple  neces- 
sity with  the  photographer,  it  has  advanced,  in  the  hands  of 
the  artist,  to  results  among  the  finest  and  most  appreciable 
in  modern  art. 

The  pigment  known  as  India  or  Chinese  Ink  having  been 
always  used  by  architects,  engineers,  and  water-colorists,  as 
an  acceptable  black,  was  naturally  adopted  by  the  photo- 
graphic profession  ;  and  although  its  original  use; — for  Ori- 
ental chirography — is  as  a  positive  black,  it  is  susceptible  of 
giving,  with  clearness  and  beauty,  all  the  shades  between 
black  and  white. 

Notwithstanding  it  is  beautiful,  delicate,  and  transparent, 
it  will  generally  be  found  wanting  in  power  for  the  deepest  ef- 
fects in  large  work — Lampblack  being  preferable — although 
a  certain  degree  of  strength  may  be  obtained  by  adding  the 
latter  to  the  former,  without  impairing  its  characteristic 
beauty  and  clearness. 

10* 


114 


HOW  TO  PAINT  PHOTOGRAPHS. 


The  greatest  difficulty,  however,  is  to  obtain  a  piece  of 
genuine  India-Ink — most  of  that  in  the  market  being  an 
imitation.  The  spurious  article  will  be  found  very  highly 
scented  with  musk,  and  containing  so  much  gum,  that  it  is 
very  hard,  and  too  glossy.  The  possession  of  genuine  Ink, 
having  a  neutral  tone,  is  no  small  advantage  at  the  outset, 
for  the  accomplishment  of  acceptable  work. 

[In  recommending  the  neutral  tone  for  Ink  pictures,  we 
may,  doubtless,  antagonize  the  predilections  of  the  few  who 
favor  "warm"  tones,  but  we  are  pleased  to  remember  that 
a  large  majority  of  the  best  artists  work  the  neutral.  The 
"  warm  "  advocates  aim  to  imitate  the  purple-brown  of  an  al- 
bumen print — to  attain  by  a  process  that  which  is  simply  a 
result — and,  in  our  opinion,  fail.  The  attempt  to  manipu- 
late "warm"  tones  generally  results  in  producing  only 
muddy  pictures ;  whilst  the  neutral  cannot  fail  to  be  clear, 
clean,  and  brilliant.] 

India-Ink  Work  (as  it  is  commonly  called)  is  simply 
drawing  with  the  brush  and  color,  instead  of  the  pencil  or 
crayon.  It  is  therefore  very  conclusive  that  the  student 
who  has  the  most  knowledge  of  the  art  of  drawing,  will  ac- 
complish the  most  in  India-Ink  work.  The  principles  which 
govern  light  and  shade — chiaro  oscuro — comprise  the  very 
foundation  of  success  in  this  branch,  and  should  be  per- 
fectly understood. 

The  advantage  of  color  to  assist  in  imitating  an  object  is 
wholly  absent  here;  and  a  favorable  result  must  depend  en- 
tirely upon  the  correctness  which  has  been  given  to  the 
form,  together  with  its  lights,  shadows,  reflexes,  strength, 
or  delicacy,  and  tone.  Especially  is  this  the  case  when 
working  up  the  pictured  human  countenance;  and  what- 
ever be  the  knowledge  or  ignorance  of  facial  anatomy,  with 
the  student,  it  will  become  apparent  in  this  branch  of  his 
work.  He  may  very  often  be  required  to  display  his  abili- 
ties upon  faces  which  over-intense  negatives  have  made 


WORKING  IN  INDIA-INK. 


115 


perfectly  white  and  flat — devoid  of  half-tones,  and  perhaps 
without  any  graduated  shadows  at  all — in  which  exigenc}^ 
he  will  at  once  discover  the  absolute  necessity  of  acquaint- 
ing himself  (to  some  degree,  at  least,)  with  anatomical 
drawing. 

The  order  of  procedure  with  Ink  is  about  the  same  as 
'with  color:  commencing  by  a  definition  of  the  heavy  lines 
of  the  face,  and  continuing  the  same  with  the  hair;  thereby 
imparting  a  vigor  quite  different  from  the  untouched  pic- 
ture. Such  details  in  regard  to  the  manner  of  working — 
drawing — the  features,  respective!}^  as  have  alread}'  been 
given,  will  suffice  to  guide  the  student  here;  besides  which, 
the  photograph  itself  will  assist  him  more  than  in  the  for- 
mer case,  where  it  was  partially  obscured  by  local  washes. 

In  using  the  pigment  itself,  the  best  form  is  that  akin  to 
a  wash.  It  should  rarely  be  applied  thick  enough  to  accom- 
plish the  desired  shade  at  once — except  in  positive  lines, 
such  as  occur  in  the  hair.  The  weightier  tones,  required 
to  give  strength  to  the  deeper  shadows,  must  be  obtained 
by  successive  applications  of  a  moderately  thin  wash,  else 
transparency  will  be  lost,  and  sootiness  ensue.  The  stu- 
dent should  take  as  his  motto,  "  Little  Ink  and  much 
labor." 

The  flesh  must  be  worked  as  heretofore  mentioned,  and 
reduced  to  evenness  by  going  between  and  around  the  spots 
and  rough  places,  as  photographed  from  the  skin.  In  so 
doing,  commence  with  the  stronger  portions,  and  proceed 
toward  the  higher  lights,  at  the  same  time  reducing  the 
strength  of  the  Ink-wash.  If  the  print  is  of  neutral  tone, 
there  will  be  no  difficulty  in  obtaining  a  clear,  silver-gray 
light  on  the  forehead,  nose,  and  other  prominent  parts.  It 
is  quite  convenient  to  have  two  washes  at  hand — one  toned 
with  blue  (Cobalt),  for  use  in  the  light  parts,  which  should 
be  clean  and  brilliant. 

In  general  the  face  can  be  finished  before  the  drapery 


116 


HOW  TO  PAINT  PHOTOGRAPHS. 


and  background  are  touched;  except  it  be  a  vignette  head 
on  a  white  ground,  in  which  case  the  washes  that  are  to 
serve  as  a  basis  for  the  clouding  should  be  laid  early  in  the 
work.  This  will  enable  the  student  to  estimate  his  tone  and 
strength  of  shade,  which  will  appear  much  lighter  after  the 
washes  are  completed. 

The  remaining  portions  of  the  picture  are  to  be  finished 
according  to  instructions  given  in  previous  chapters.  It 
should  be  observed,  however,  that  as  the  photograph  gives 
no  true  indication  of  the  color  of  hair  and  eyes,  it  is  well  to 
ascertain  what  they  are,  so  that  there  be  no  uncertainty 
whether  to  work  them  with  a  tendency  toward  light  or  dark, 
as  the  case  may  require.  Without  this  knowledge  the  pho- 
tograph itself  may  induce  grave  errors;  whereas  it  is  in- 
tended that,  in  Ink- work,  the  natural  color  shall  be,  as  near 
as  possible,  indicated  by  the  tone  and  depth  of  shade. 

The  drapery  in  most  instances  will  have  to  be  done  with 
Compound  Black.  India-Ink  lacks  power,  except  when  used 
very  thick,  and  that  is  not  to  be  permitted,  as  it  would  totally 
obscure  the  texture  and  smaller  folds.  Lampblack  possesses 
abundant  strength,  but  is  also  too  opaque;  whereas  the  Com- 
pound Black — Indigo,  Lake,  and  Sepia — is  no  less  transpar- 
ent than  powerful,  fresh,  and  permanent.  Nor  has  India- 
Ink,  of  itself,  a  good  tone  for  drapery;  although  it  may 
sometimes  be  used  in  vignette  pictures,  which,  as  a  rule,  do 
not  require,  and  should  not  have,  the  strength  essential  to 
the  drapery  of  a  bust  or  figure  with  solid  background. 

The  hands  are  most  generally  surrounded  by  the  drapery, 
and  for  this  reason  appear  too  white ;  especially  so  as  com- 
pared with  the  face.  It  is  therefore  necessary  to  break  this 
whiteness  by  a  wash,  preparatory  to  further  working;  and 
then,  when  being  modelled,  great  assistance  is  derived  by 
rubbing  out  the  lights  as  they  occur  on  the  knuckles  and 
joints.  Remember,  too,  how  the  outer  edges  of  the  hands, 
along  the  black  drapery,  need  a  blending  touch  of  pure 


WORKING  IN  INDIA-INK. 


117 


(normal)  gray.  "Colored"  gray  must  never  be  used  in 
Ink  pictures. 

Photographs  to  be  finished  as  "  India-Ink  work,"  should 
be  printed  a  little  darker  than  usual,  from  the  fact  that  they 
work  up  lighter,  and  in  order  to  secure  all  the  half  shades. 
Those  are  best  adapted  to  this  branch  of  the  artist's  labors, 
and  most  easily  finished,  which  abound  in  the  half  shades  ; 
which,  being  well  developed,  the  student  or  artist  will  have 
no  difficulty  in  working  up  the  high  lights  or  graduating  to 
the  deepest  shadows. 

If  blue  (Cobalt)  has  not  been  used  in  the  modelling,  as 
suggested,  to  impart  a  brilliant  tone  to  the  delicate  shading 
about  the  highest  lights,  clearing  them  up  to  a  beautiful 
gray  tone,  it  must  be  worked  in  now;  but  it  must  not  be 
carried  so  far  as  to  disclose  the  presence  of,  and  actually 
look,  blue. 

In  the  smaller-sized  pictures,  it  is  often  desired  that  the 
cheeks  be  tinted;  and,  indeed  (though  it  may  not  be  strictly 
artistic  or  legitimate),  it  is  not  to  be  denied  that  Pink  Mad- 
der is  of  great  assistance  in  warming  the  tone,  and  giving 
freshness  and  the  effect  of  rotundity  to  the  cheeks. 

Sometimes,  also,  a  delicate  jirst-wash  of  Indigo  may  be 
laid,  with  good  results,  for  the  clouding  about  a  vignette 
head;  but  it  should  not  be  done  if  the  photograph  has  any- 
thing of  a  muddy  or  brownish  tone.  The  pure  tint  of  the 
Indigo  conflicts  with  an}'  tone  but  the  neutral  or  gray,  while 
it  also  tests  the  cleanliness  of  the  brush-work. 

India-Ink  work  is  always  expected  to  be  done  on  "plain" 
paper ;  but  if  it  is  desired  to  retouch  or  work  up  a  face  on 
albumen  paper,  it  will  be  necessary  to  mix  a  very  little  Gum 
Arabic  with  the  pigment,  to  give  it  adhesion  sufficient  to 
overcome  the  "grease"  of  the  albumen  surface. 

Copied  Pictures. — Perhaps  the  most  popular  and  impor- 
tant use  of  the  India-Ink  process  is  for  working  up  photo- 


118 


HOW  TO  PAINT  PHOTOGRAPHS. 


graphed  cojnes  of  old  daguerreotypes,  ambrotypes,  minia- 
tures, reproducing  photographs,  etc., — valued  likenesses  of 
deceased  friends — and,  by  this  means,  restore  the  faded  or 
injured  picture,  rendering  it  suitable  to  be  framed. 

As  the  imperfections*  of  the  copy  can,  for  the  most  part, 
be  more  easily  corrected  and  hidden  by  the  India-Ink  pro- 
cess than  with  color,  it  is  preferred.  The  specks  and  blotches 
must  be  stippled  over  in  the  dark  parts;  and,  in  the  light 
parts,  if  the}7  cannot  be  taken  out  by  working,  or  with  India- 
rubber,  they  may  be  covered  with  Chinese  White,  or  gray, 
as  the  situation  demands.  In  doing  this,  however,  apply  the 
body-color  lightly,  so  as  to  avoid  touches  that  would  resem- 
ble pimples. 

As  a  general  thing,  the  working  up  of  copies  will  require 
more  force  than  a  photograph  from  life ;  and  more  care  too, 
from  the  fact  that  the  enlargement  of  the  copy  has  produced 
diffusion  of  the  lines  and  a  general  indistinctness.  Fre- 
quently this  extends  to  such  a  degree  as  renders  it  impossi- 
ble to  work  without  constantly  referring  to  the  original  for 
guidance ;  and  the  student  is  advised,  for  these  reasons,  not 
to  undertake  a  copy  unless  he  has  the  original, — or  is  other- 
wise thoroughly  posted. 

The  method  of  Pastel  will  probabty  be  employed  more  fre- 
quently in  doing  these  copies  than  for  any  other  purpose, 
and  the  student  is  now  referred  to  the  former  chapter  on 
Gray  Pastel  for  India-Ink  Work. 

*  [Note. — The  great  majority  of  these  old  'types  having  become 
impaired  by  time  and  dust,  or  injured  by  rough  and  careless  handling, 
make  horrid-looking  copies.  Every  spot  and  scratch,  if  even  invisible 
to  the  eye  on  looking  at  the  original,  will  magnify  to  a  mountain  in 
the  copy.  If  the  copy  is  to  be  made  from  a  carte  de  visite  or  any  pic- 
ture on  paper,  the  surface  of  it,  although  seemingly  very  smooth,  will 
be  found  very  rugged  under  the  magnifying  influence  of  the  camera- 
lens;  and  the  lights  and  shadows  of  these  surface  projections,  appear- 
ing in  the  copy,  will  add  greatly  to  the  amount  of  labor  to  be  done  in 
completing  the  picture.    If  the  picture  to  be  copied  is  on  albumen 


WORKING  IN  INDIA-INK. 


119 


The  Use  of  Other  Pigments.  —  The  difficulty  already 
mentioned  of  procuring  the  genuine  India-Ink,  and  a  dislike 
of  the  poor  imitations  with  which  the  market  abounds,  has 
necessitated  the  adoption,  to  a  certain  extent,  of  other  pig- 
ments and  compounds  for  this  species  of  pictures;  although 
the  old  and  familiar  name  of  " India-Ink"  still  attaches  to 
the  finished  work. 

Among  these  substitutes,  perhaps  the  most  useful  and  the 
simplest,  is  Lampblack,  with  which  (if  the  cake  is  perfectly 
neutral  in  tone),  the  student  will  be  able  to  produce  every 
gradation  and  depth  of  shade — though  not  with  the  delicacy 
and  clearness  of  good  India-Ink.  Lampblack  is  chiefly  avail- 
able for  large  work,  and  being  opaque,  also  accelerates  the 
labor;  because  every  touch  of  the  brush  produces  an  instant 
and  permament  effect,  whereas  India-Ink  dries  considerably 
lighter  than  when  freshly  applied.  If  a  warm  tone  is  desired, 
add  a  little  Sepia  and  Lake.  An  excellent  combination  is, 
to  add  some  Dragon's  Blood  to  the  Lampblack,  and  then 
just  enough  of  Indigo  to  correct  or  neutralize  it. 

The  Compound  Black — Indigo,  Lake,  and  Sepia — is  also 
a  favorite  mixture  for  this  purpose,  and  preferred  to  Lamp- 
black for  small-sized  work,  where  fineness  is  more  essential 
than  power.  It  may  be  composed  with  a  cold  or  warm  tone, 
by  allowing  the  first  or  the  other  two  to  predominate;  and 
this  choice  gives  it  the  advantage  of  being  applicable  to  al- 
most any  tone  of  the  photograph.  It  is  beautifully  trans- 
parent, and  can  easity  be  manipulated  with  clear  and  clean 
results. 

To  obviate  the  fugitive  quality  of  the  Lake  contained  in  the 
mixture,  and  secure  the  utmost  permanence,  the  Madders 
can  be  used  instead;  although  these  will  be  found  slightly 

paper,  much  time  and  work  can  be  saved  the  artist  if  photographers 
will  "roll,"  i.  e.y  press  the  picture  a  number  of  times,  making  it  as 
smooth  as  possible.] 


120 


HOW  TO  PAINT  PHOTOGRAPHS. 


objectionable  from  the  fact  that  they  are  deficient  in  power, 
hard,  and  do  not  work  so  kindly. 

In  all  descriptions  of  u  India-Ink  Work,"  after  the  neces- 
sary shadows  have  been  defined,  the  nse  of  White — Chinese 
or  Flake,  according  to  the  brightness  required — must  not 
be  forgotten  for  collars,  laces,  linen,  and  other  pure  lights. 
Opaque  gray  (Lampblack  and  Chinese  White)  will  also  be 
applied  for  the  half  lights,  according  to  situation.  Gum 
Arabic,  used  sparingly,  will  produce  the  extreme  depth  of 
shadow,  and  give  lustre  to  the  hair,  eyes,  jewelry,  buttons, 
etc.  Remember,  too,  that  upon  black,  more  than  on  any 
color,  the  Gum  produces  an  instant  and  powerful  effect. 

Painting  on  Porcelain. 

Whether  plain  or  colored,  porcelain  pictures  are  avowedly 
superior  in  softness,  finish,  and  brilliant  effect,  to  anything 
wmich  the  photographic  art  has  thus  far  accomplished.  The 
skill  of  the  artist  is  here  greatly  aided  by  the  delicacy  of  the 
surface  on  which  the  photograph  has  been  executed,  and  the 
result  is  a  pictorial  effect  far  surpassing  that  of  the  finest 
miniatures  on  Ivory,  and  produced  at  very  much  less  ex- 
pense. 

Porcelain  photographs  intended  for  coloring,  must  be  in- 
variably made  on  plates  which  have  a  granulated,  and  not  a 
polished,  surface.  It  would  be  folly  to  attempt  the  applica- 
tion of  water  colors  upon  the  latter,  for  general  purposes ; 
but  it  can  be  done,  to  a  limited  degree,  after  coating  the 
plate  with  a  thin  solution  of  white  glue.  The  granulated 
plates,  however,  which  are  specially  prepared  for  the  pur- 
poses of  coloring,  give  a  sufficient  u  tooth  "  to  hold  the  color, 
and  afford  altogether  a  better  opportunity  for  working. 

For  the  most  part,  the  handling  is  the  same  as  for  photo- 
graphs on  paper,  except  that  the  following  points  must  al- 
ways be  kept  in  mind :  You  paint  into  the  paper,  whilst  you 


PAINTING  ON  PORCELAIN. 


121 


paint  upon  the  porcelain;  the  paper  will  abso?*b  the  color, 
the  porcelain  will  not. 

Consequently,  a  less  amount  of  the  work  can  be  clone  by 
washing  than  on  a  paper  picture ;  and  by  far  the  greater 
part  must  be  performed  by  hatching  and  stippling. 

Even  the  small  amount  of  washing  necessary,  must  be 
treated  peculiarly,  viz.,  it  should  be  commenced  with  a  full 
brush,  which  should  not  be  lifted  from  the  plate  until  the 
part  to  be  washed  has  been  entirely  gone  over,  unless  it  is 
absolutely  necessary  to  do  so  for  more  color.  It  is  best 
always,  when  possible,  to  start  with  all  the  color  required. 
In  washing,  the  brush  should  be  moved  regularly  and 
steadily;  very  slightly  raised  from  the  surface,  or  scarcely 
resting  its  own  weight  upon  it ;  in  a  horizontal  direction ; 
and  serving  rather  to  guide  the  jlow  of  the  wash  than  to  be 
the  instrument  for  la3Ting  it  on. 

As  there  is  no  absorption,  it  will,  in  general,  be  found 
necessary  to  make  the  wash  considerably  above  the  tone  re- 
quired when  it  is  dry.  Never  go  back  with  the  brush  to  re- 
touch any  part  of  the  surface  not  yet  dry,  as  it  will  "wash 
up  "  instantly. 

In  treating  photographs  on  porcelain,  it  is  quite  essential 
that  all  the  color  used  should  have  a  very  little  pure  Gum 
Arabic  mixed  with  it,  to  give  it  strength  and  adhesiveness, 
but  the  utmost  watchfulness  is  required  to  avoid  the  temp- 
tation of  making  a  too  free  use  of  it.  Porcelain  painting  is 
so  excessively  tedious,  that  the  student's  patience  is  likely 
to  become  exhausted,  and  so  sure  as  he  endeavors  to  obtain 
"  the  more  haste  "  by  the  over-use  of  Gum  Arabic,  he  will 
ultimately  find  it  "the  less  speed,"  as  his  work  will  only 
crack  and  peel  off.    Porcelains  persecute  patience ! 

What  has  been  said  above  concerning  the  use  of  gum,  is 
to  be  understood  as  applying  to  the  transparent  pigments, 
rather  than  to  those  which  are  semi-opaque,  and  hot  at  all 

11 


122 


HOW  TO  PAINT  PHOTOGRAPHS. 


to  the  real  body-colors:  Chinese  White,  Vermilion,  Orange 
Chrome,  and  Emerald  Green. 

In  hatching  and  stippling,  let  this  be  a  fixed  rule :  Never 
give  an  after-touch  until  the  previous  one  is  entirely  dry ; 
or,  in  other  words,  do  not  give  two  successive  touches  on 
the  same  spot.  Where  additional  depth  and  strength  of 
color  is  required,  it  must  be  obtained  by  successively  work- 
ing over;  and  it  will  be  found  no  eas}^  matter  to  do  this 
with  regularity  of  shade  and  evenness  of  surface.  If  this 
can  be  accomplished,  however,  it  will  surprise  the  student 
to  discover  what  a  solidity  and  strength  can  be  attained, 
after  all,  in  the  porcelain  process ;  and  that  in  these  qualities 
it  is  no  less  capable  than  in  those  of  delicacy  and  beauty. 

While  engaged  in  the  work  of  painting,  the  hand  should 
not  be  permitted  to  rest  upon  the  plate,  as  it  will  impart 
grease,  and  interfere  more  with  the  adhesiveness  of  the  color 
than  is  the  case  on  paper.  If  no  rest-stick  is  used,  and  the 
hand  must  find  support  on  the  plate,  use  a  piece  of  paper 
underneath  it. 

It  will  be  found  that  the  smooth  and  non-absorbent  sur- 
face will  require  the  almost  constant  use  of  a  rather  dry 
brush,  and  not  much  color  in  the  lighter  parts;  in  the 
heavier  parts  the  color  must  be  quite  thick,  but  not  by  any 
means  so  thick  as  to  make  a  daubed  appearance. 

The  majority  of  porcelain  pictures  are  done  in  vignette 
style.  This  requires  attention  to  the  clouding  about  the 
head,  and  affords  a  fine  opportunity  for  delicate  aerial  ef- 
fects. After  the  cloud-wash  is  dry,  the  edges  can  be  beau- 
tifully softened  by  gently  patting  them  with  the  end  of  the 
finger,  covered  with  a  handkerchief  or  cloth,  and  very  slightly 
moist.  In  addition  to  this  blending,  semicircular  white  spots 
should  be  washed  out  with  the  brush,  like  openings ;  and,  if 
done  in  imitation  of  nature,  these  simple  expedients  add  much 
to  the  general  result. 

If  the  picture  is  a  copy,  and  contains  any  of  the  usual  spots 


PAINTING  ON  PORCELAIN. 


123 


and  streaks,  they  can  be  stippled  out  with  Neutral  Tint. 
Gold  should  be  done  by  first  laying  a  base  with  Roman 
Ochre,  thick ;  then  add  high  lights  of  Indian  Yellow  and 
Chinese  White.  All  clear,  brilliant  u  touches  "  will  need  to 
be  done  with  bod3^-color. 

The  correcting  o  f  errors  is  easily  done  by  moistening  the 
part  to  be  altered,  and  washing  off  the  paint  with  clean  water. 
This  is  a  simple,  though  a  nice  operation,  and  must  be  done 
so  as  not  to  damage  the  adjacent  parts.  Indeed,  if  the  en- 
tire progress  which  has  been  made  in  painting,  does  not 
please,  the  whole  may  be  washed  off;  but  this  should  be 
done  under  a  flowing  stream  of  clean  water,  in  order  that 
none  of  the  color-matter  be  allowed  to  remain  elsewhere 
upon  the  plate  after  it  has  become  detached  from  the  pic- 
ture itself,  as  it  would  leave  just  enough  of  a  stain  to  soil 
the  purity  of  the  granulated  surface.  In  this  respect,  por- 
celain even  offers  an  advantage  over  paper,  and  often  a  very 
important  one,  too;  often  seeming  almost  compensatory  for 
the  extraordinary  degree  of  time  and  patience  required  in 
its  general  manipulation. 

Another  method  of  correcting  errors,  particularly  with 
regard  to  tone,  is  by  scratching  off  the  color  with  the  eraser 
or  a  smooth  bit  of  pumice-stone.  This  should  be  done  with 
parallel  strokes ;  except  in  the  flesh,  where  the  pumice-stone 
is  preferred  and  should  be  used  with  a  circular  motion. 
The  latter  also  gives  one  means  of  putting  high  lights 
where  they  are  principally  deficient  in  the  flesh— especially 
the  principal  light  on  the  forehead.  Parallel  scratch-lines, 
at  an  angle  of  forty-five  degrees,  or  less,  give  atmospheric 
effect  to  the  clouding  about  a  vignette  head. 

With  regard  to  the  subjects  most  desirable  for  a  painting 
on  porcelain,  the  student  will  discover,  after  a  little  prac- 
tice, that  a  child's  picture  (vignette  head),  is  the  most  pleas- 
ing to  work  upon ;  and  he  will  feel  justified  in  giving  it  the 
benefit  of  all  the  resources  of  the  porcelain  method.  He 


124 


HOW  TO  PAINT  PHOTOGRAPHS. 


will  naturally  and  unconsciously  incline  toward  the  ideal  in 
treating  these  innocents;  and,  in  addition  to  a  preservation 
of  the  likeness,  he  will  strive  to  make  a  beautiful  picture. 

Women's  portraits  will  claim  his  preference  next  in  order, 
but  he  will' find  them  rather  less  inspiring  to  his  genius. 
The  necessary  use  of  a  more  decided  style  of  working, 
stronger  lines,  and  the  introduction  of  so  much  drapery, 
together  with  the  accessories,  which  require  abundant  pa- 
tience, will,  doubtless,  cause  him  to  wish  that  he  was  work- 
ing on  paper. 

Last  of  all,  and  least  of  all,  will  be  his  ambition  to  deline- 
ate the  face  of  a  man,  in  a  way  which  finds  no  parallel  in 
nature.  The  vigor,  strength,  and  breadth  with  which  he 
would  feign  characterize  manhood,  are  not  attainable  by 
this  process  ;  and  the  inevitable  result  must  be  a  beautiful 
man  !  a  wax-figure  !  a  painting  which,  instead  of  "  holding 
the  mirror  up  to  nature,7'  goes  immeasurably  and  absurdly 
beyond  it ! 

Ivorytypes. 

The  invention  of  the  Ivory  type  is  awarded  to  Mr.  Wend- 
eroth,  the  distinguished  Philadelphia  artist.  Upon  the  in- 
troduction and  use  of  the  Porcelain  surface,  however,  as  a 
basis  for  the  colorist's  work,  the  days  of  the  once  famous 
Ivorytype,  it  maj^  be  said,  were  numbered,  as  it  is  impossi- 
ble ever  to  achieve,  in  the  production  of  the  latter,  the 
brilliant  tone  and  delicacy  of  finish  which  is  incident  to, 
and  inseparable  from,  the  porcelain  picture. 

In  a  few  words,  the  Ivorytype  is  simply  a  painted  photo- 
graph  sealed  to  a  clear  glass  plate.  There  are  a  number  of 
points,  however,  in  which  the  operating  of  the  picture'  for 
the  Ivorytype  differs  from  that  of  the  ordinary  painted 
photograph,  namely : 

It  must  not  be  mounted  on  pasteboard,  but  stretched 
tightly  upon  the  drawing-board.    In  order  to  do  this,  the 


IVORYTYPES. 


125 


photograph  should  be  printed  on  a  piece  of  paper  which 
will  allow  sufficient  margin  for  pasting  down.  Moisten  the 
entire  sheet  and  lay  it  flat  on  the  board,  permitting  no  air- 
bubbles  to  remain  underneath.  Paste  down  all  the  edges, 
-and  let  it  dry  slowly,  keeping  the  board  perfectly  level.  As 
the  contraction  of  the  paper  in  drying  will  cause  a  very  hard 
strain  on  the  pasted  edges,  it  may  be  advisable  to  have  them 
secured  by  tacks  or  weights. 

The  photograph  thus  mounted  upon  the  drawing-board, 
is  to  be  treated  with  special  attention  to  the  following  par- 
ticulars, viz. : 

1.  The  painting  must  be  executed  with  more  than  ordi- 
nary vigor  and  force,  so  as  to  provide  against  the  diminu- 
tion of  tone  and  effect  which,  it  will  afterwards  be  seen, 
follows  on  sealing  it  to  the  glass. 

2.  No  body-color  should  be  used,  except  when  actually 
necessary.  In  laying  on  the  white  for  laces  and  the  light 
parts  of  linen,  etc.,  do  it  very  lightly — perhaps  Flake  White 
is  best. 

3.  Give  preference  to  the  transparent  colors ;  for,  as  the 
object  of  the  wax  is  to  render  the  entire  picture  transparent, 
it  is  plain  that  opaque  colors  will  resist  its  effect,  and  seem 
to  lie  dead  and  hard  upon  the  painted  surface. 

4.  In  working  certain  folds  of  the  drapery,  it  is  better  to 
preserve  the  lights  as  they  are  in  the  photograph,  than  to 
restore  them  with  the-  aid  of  body-color.  For  the  light  on 
the  eyes,  however,  and  a  few  other  special  points,  Chinese 
White  can  be  used  with  propriety. 

5.  Do  not  use  a  particle  of  Gum  Arabic,  because  it  will 
prevent  adhesion  to  the  glass  plate ;  and  if  the  deep  lines 
and  shadows  are  painted  with  sufficient  strength,  its  ordi- 
nary use  as  a -varnish  will  be  supplied  by  the  wax. 

When  the  painting  is  completed,  lay  the  glass  plate — 
which  must  be  perfectly  clean  and  polished — upon  the  pic- 
ture ;  and  being  properly  adjusted,  cut  out  the  painting  so 

11*  g 


126 


HOW  TO  PAINT  PHOTOGRAPHS. 


as  to  exactly  fit  the  glass  (unless  there  be  reasons  for  doing 
otherwise)  ;  but  it  is  a  great  advantage,  in  the  hurried  opera- 
tion of  sealing,  not  to  be  obliged  to  adjust  the  picture  then 
— which  would  be  necessary  if  it  were  larger  or  smaller  than 
the  plate. 

The  composition-wax  used  in  sealing  is  variously  com- 
pounded by  different  artists;  but  a  mixture  of  one  part  of 
Gum  Copal  with  two  parts  of  pure  white  wax  will  suffice  for 
ordinary  purposes. 

The  operation  of  Sealing  may  be  described  as  follows : 
Heat  the  glass  until  warm  enough  to  melt  the  wax-com- 
position while  being  passed  over  it  in  a  horizontal  position. 
Let  every  part  of  the  plate  be  thoroughly  coated — as  it  is 
the  Gum  Copal  which  gives  lustre  to  the  finished  Ivory  type. 
While  it  is  still  warm,  lay  on  the  picture,  face  to  the  glass, 
in  such  a  manner  as  not  to  work  off  any  of  the  melted  com- 
position, or  to  produce  wrinkles,  or  leave  any  air-bubbles 
underneath.  The  back  of  the  painting  is  now  supposed  to 
be  uppermost.  Keeping  the  plate  still  warm,  rub  a  piece  of 
pure  white  wax  alone  slowly  over  the  back — melting  as  it 
moves — and  then,  with  the  straight-edge  of  a  small  bit  of 
card-board,  held  almost  perpendicularly,  smooth  the  picture 
down  fiat  upon  the  plate.  In  doing  this,  rub  gently  from 
the  centre  in  every  direction  toward  the  margin ;  and  be 
particular  to  push  out  the  very  last  crease  or  air-bubble. 
Do  not  press  the  card-board  hard  enough  to  drive  out  all 
the  composition  first  laid  over  the  plate,  else  the  brilliancy 
of  the  work  will  be  lost.  As  before-mentioned,  the  Gum 
Copal  imparts  the  brilliant  effect,  and  the  wax  gives  it  trans- 
parency. 

It  will  be  readily  seen  that  this  operation  must  be  done 
w  ith  quickness  and  certainty ;  and  hence  it  is  best  to  have 
everything  fitted  and  prepared  before  the  sealing  is  com- 
menced. 

The  painting  being  attached  to  the  glass,  it  now  only  re- 


IVORYTYPES. 


127 


mains  to  fit  a  piece  of  pure  white  paper  (card-board  is  bet- 
ter) to  the  back — the  effect  of  which  is  seen  through  the 
transparent  picture — and  the  Ivory  type  is  completed.  Be- 
fore doing  this,  however,  it  is  well  to  consider  the  extent  to 
which  the  colors  have  faded  out  in  the  process  of  sealing ; 
and  if  they  need  restoration  and  strength,  apply  some  addi- 
tional color,  in  its  proper  place,  on  the  back  of  the  sealed 
painting.  This  necessity  is  most  likely  to  occur  with  the 
carnation-tints. 

In  selecting  a  glass  for  this  purpose,  French  plate  is  the 
most  desirable,  and  any  other  than  pure  white  glass  must, 
necessarily,  somewhat  mar  the  general  purity  of  the  work. 
Ordinary  glass  having  a  greenish  tint,  should  not  be  used, 
if  possible ;  and  equal  care  should  also  be  exercised  to  ob- 
tain plates  entirely  free  of  streaks,  bubbles,  or  scratches. 

[jgir3  It  may  be  opportune  to  remark  here,  that  in  fram- 
ing Ivory  types,  no  white  paper  should  be  placed  in  contact 
with  the  finished  work,  as  it  would  u  kill "  the  so-called 
whites  in  the  picture;  and,  by  a  prejudicial  contrast,  lower 
their  tone  into  a  degree  of  unavoidable  yellowness  produced 
by  the  wax  compound.  Ivorytypes  should  always  have  a 
rich  gilt  frame,  the  sight-opening  of  which  will  cut  the  pic- 
ture. 

Beautiful  as  the  Ivory  type  is,  when  first  finished,  it  be- 
comes liable  to  serious  discoloration.  The  wax-composition, 
no  matter  how  pure  the  ingredients,  will,  in  time,  produce 
sufficient  yellowness  to  mar  its  original  beauty.  Notwith- 
standing this  deficiency,  however,  it  is  easy  to  suppose  that, 
but  for  the  introduction  of  its  greatly  superior  rival — the 
Porcelain — its  glory  would  doubtless  have  remained  undi- 
minished, as  an  excellent  and  practicable  successor  to  its 
prototype,  the  Ivory  Miniature  of  u  auld  lang  syne." 


128 


HOW  TO  PAINT  PHOTOGRAPHS. 


Large  Solar- Camera  Pictures. 

The  handling  of  the  large-sized  solar  photographs  is  a 
matter  of  progression.  If  we  can  safely  premise  that  the 
student  has  become  thoroughly  familiar  with  the  principles 
involved  in,  and  the  directions  for  manipulating  smaller  and 
medium-sized  photographs,  our  observations  under  this  head 
need  tend  only  to  an  expansion  of  the  knowledge  he  already 
possesses. 

The  important  characteristics  of  the  successful  solar  pic- 
ture, are  force,  breadth,  easy  handling,  and  a  total  absence 
of  timidity  and  delicacy.  The  washes  must  be  done  broadly 
and  with  an  abundance  of  color ;  and  the  lines  given  with- 
out trepidation  or  stiffness.  The  finished  pictures  should  in- 
dicate, on  the  part  of  the  worker,  a  sufficiency  of  knowledge 
and  a  mastery  of  the  brush. 

According  to  the  instinctive  laws  of  vision,  a  picture 
should  be  vieived  at  a  distance  equal  to  three  times  its  size. 
Indeed,  a  more  distant  point  may  be  agreeable,  but  rarely 
one  nearer ;  except  with  persons  of  defective  vision — and 
even  then  the  eye  wanders  over,  rather  than  embraces  the 
whole.  Consequently,  it  is  plain  that  the  entire  handling 
must  be  prosecuted  with  a  clearness  and  power  sufficient  to 
realize  the  desired  effect  when  viewed  at  the  proper  distance. 

It  is  scarcely  to  be  expected  that  the  student  will  accom- 
plish this  without  considerable  practice.  His  previous  work 
has  been  of  dimensions  which  could  be  inspected  perhaps 
without  rising  from  his  seat;  but  now  his  manipulation,  hor- 
ribly coarse  at  the  drawing-board,  is  softened  by  the  pre- 
scribed distant  view, — and  it  therefore  follows  that  only  by 
constantly  taking  this  view-point,  can  he  watch  his  progress 
and  attain  the  true  result. 

The  student  has -learned  (in  a  foregoing  chapter),  that 
Hatching  is  the  most  desirable  and  effective  manipulation 
for  large  pictures,  and  he  will  therefore  adopt  it  for  solar 


FRAMING  THE  PICTURES. 


129 


work.  The  time  of  Stippling  has  passed  by,  except  for  some 
few  necessary  touches,  and  the  disposing  of  spots.  The 
small-sized  brushes  must  give  place  to  larger  ones,  color 
must  be  prepared  and  used  without  stint, — "laid  up  loose," 
— and  a  more  artistic  style  of  action  adopted  throughout  the 
whole  working. 

It  is  impossible,  that  this  description  of  labor  can  be  per- 
formed with  ease  and  convenience  at  a  desk  or  table.  The 
Easel  here  becomes  a  necessity,  and  so  too  the  Best- Stick. 
The  length  and  strength  of  the  hatch-lines,  which  the  stu- 
dent will  now  endeavor  to  draw  with  a  graceful  sweep  of  the 
brush,  demand  a  firm  support  for  the  hand,  and  an  almost 
vertical  position  of  the  drawing-board — except  in  flowing 
the  washes.  The  dimensions  of  the  picture  also  forbid  that 
the  arm  should  be  constantly  wiping  over  its  surface,  which 
would  be  the  case  if  lying  nearly  flat;  and  the  facility  with 
which  it  can  be  raised  or  lowered  so  as  to  bring  the  working- 
spot  right  to  the  hand,  clearly  demonstrate  the  expediency 
of  using  the  Easel  now,  if  never  before.  Especially  so,  if 
the  background  is  to  be  done  in  pastel,  which  would  be 
marred  by  the  very  slightest  touch — and  this  too  makes  the 
Rest-Stick  indispensable. 

If  the  solar  at  hand  is  to  be  done  in  (the  so-called)  "In- 
dia-Ink "  style,  the  student  must  not  forget  what  has  been 
already  said  concerning  the  inefficiency  of  the  India-Ink 
itself  for  large  work,  and  the  usefulness  of  Lampblack.  The 
Compound  Black,  when  mixed  to  a  deep  tone,  is  also  quite 
available  for  solar  prints,  and  important  in  finishing  the  dra- 
pery. Indigo  added  to  Lampblack,  gives  a  depth  sufficient 
for  any  shadow  the  drapery  can  possibly  require. 

Framing  the  Pictures. 

The  framing  of  a  picture  can  scarcely  be  regarded  as  a 
matter  of  taste  alone. 

Though  not  strictly  true,  the  theory  of  photographic  paint- 


130 


HOW  TO  PAINT  PHOTOGRAPHS. 


ing  is,  that  the  work  has  been  clone  upon  a  white  ground  ; 
as  is  the  case  in  pure  water  color  painting,  where  the  trans- 
parent pigments  so  modify  the  light  falling  npon  and  being 
reflected  from  that  white  surface,  as  to  produce  the  effect 
constituting  the  picture.  Hence,  some  indication  of  the 
presence  of  this  supposed  white  ground  must  be  given. 

In  vignette  pictures  there  is  frequently  sufficient  white 
margin  to  answer  this  purpose ;  but  if  there  is  not,  or  when 
the  background  is  solid,  a  white  mat  becomes  indispensable. 
The  use  of  a  tinted  mat  is,  to  say  the  least,  dangerous ;  and 
only  permissible  when  it  is  of  a  tint  harmonious  with  the 
general  tone  of  the  painting,  or  entirely  neutral ;  and  even 
then  it  must  have  an  inside  edge  of  white.  The  use  of  tinted 
mats  requires  considerable  judgment  to  make  &  proper  selec- 
tion, whilst  the  white  ones  are  "  always  in  order." 

India-Ink  work,  which  is  intended  to  imitate  an  engrav- 
ing, must  never  be  margined  by  anything  else  than  white  ! 
The  juxtaposition  of  a  colored  mat  (especially  if  the  hue  be 
rather  intense)  is  sure  to  damage  its  purity  in  many  ways ; 
reflecting  improper  tints  upon  its  high  lights,  and  giving  a 
sooty  appearance  in  the  heavy  shadows.  The  immediate 
contact  of  gilt  with  Ink  work  and  a  pastel  ground,  is  death ! 
and  is  never  to  be  allowed. 

Colored  pictures  should  have  a  gilt  frame ;  and  if  ample 
white  surrounds  the  painting,  it  will  be  seen  that  the  white 
purifies  the  colors  and  the  gilt  purifies  the  white.  Colored 
Porcelains — vignettes — are  greatly  enriched  by  the  addition 
of  a  line  of  velvet,  coming  between  the  white  surface  and 
the  gilt  frame.  The  color  should  be  deep  and  rich  ;  and  the 
opaque,  dull  texture  of  the  velvet,  whilst  it  gives  wonder- 
ful purity  to  the  white  of  the  porcelain,  also  harmonizes 
splendidly  with  the  gold  (gilt)  of  the  frame.  Porcelains  re- 
quire, and  can  bear,  the  very  richest  setting ;  reverse  this, 
and  use  a  dull  walnut  frame,  and  the  result  will  be  a  picto- 
rial monstrosity ! 


RETOUCHING  THE  NEGATIVE. 


131 


As  the  beauty  and  value  of  the  jewel  is  enhanced  by  the 
setting  it  receives,  so  is  the  character  of  a  picture  improved 
or  debased  by  the  manner  in  which  it  is  framed  ;  and  in  vio- 
lation of  the  principles  upon  which  good  framing  is  based, 
it  is  to  be  regretted  that  the  educated  eye  is  too  often  pained 
by  evidences  of  the  most  deplorable  ignorance  among  pho- 
tographers— who  should  study  to  know  better. 

MetoueJiing  the  Negative. 

This  is,  perhaps,  the  most  conspicuous  feature  in  the 
present  advanced  condition  of  the  photographic  art.  Though 
not  a  matter  of  coloring,  it  nevertheless  comes  properly 
within  the  artisVs  sphere  of  labor;  as  its  successful  execu- 
tion presupposes  a  certain  knowledge  of  drawing,  modelling, 
light  and  shade,  and  ability  to  handle  the  lead-pencil  and 
brush. 

The  practice  of  retouching  negatives  (as  the  term  is  now- 
understood)  originated  in  Germany.  Lithographic  crayons, 
color-pigments,  India-Ink  mixed  with  Gum  Arabic,  Lead- 
Pencils,  and  other  materials  have  been  tried;  but  the  two 
last-mentioned  have  proved  the  most  useful  and  worthy. 

Notwithstanding  the  processes  of  retouching  are  various, 
according  to  the  subject  of  the  negative,  it  will  be  sufficient 
to  confine  this  chapter  mainly  to  the  handling  of  portrait- 
negatives ;  and  in  this  connection  we  are  happy  to  be  able 
to  furnish  the  method  originated  by  the  distinguished  artist- 
photographer,  Mr.  William  Kurtz,  whose  large  experience 
and  wonderfully  beautiful  specimens  serve  as  ample  guar- 
antee for  his  teachings,  as  follows  : 

*  "By  wa3r  of  illustration,  let  us  suppose  the  negative  in 

*  These  directions  are  generously  communicated  by  Mr.  Kurtz, 
expressly  for  this  book,  and  we  would  recommend  photographers  and 
others,  visiting  New  York,  not  to  omit  a  visit  to  his  gallery,  No.  872 
Broadway,  where  can  be  seen  most  perfect  specimens  in  the  art  of 
retouching,  and  examples  of  "how  to  paint  photographs,"  surpass- 
ingly beautiful. 


132 


HOW  TO  PAINT  PHOTOGRAPHS. 


hand  to  be  that  of  a  man  having  freckles,  deep  wrinkles,  with 
light  hair,  reddish  whiskers,  mustache,  etc.  The  negative 
is  first  varnished  with  the  ordinary  negative  varnish,  which, 
when  diy,  should  present  a  surface  as  smooth  and  nearly  as 
hard  as  the  glass  itself.  Make  a  proof  of  this,  and  it  will 
be  seen  that  the  freckles  show  as  black  spots,  whilst  the 
hair,  mustache,  whiskers,  etc.,  appear  as  if  dyed.  To  make 
the  latter  lighter,  so  that  they  show  blonde,  and  to  remove 
the  black  spots  quickly,  the  following  plan  is  to  be  pursued: 
A  little  finely  powdered  pumice-stone  is  put  on  the  face 
and  gently  rubbed  over  with  the  ball  of  the  little  finger,  and 
the  surplus  carefully  dusted  off  with  a  soft  brush  or  a  soft 
rag  ;  this  gives  a  4  tooth '  or  4  biting '  surface  to  the  varnish, 
without  in  the  least  injuring  the  collodion  film  beneath. 
It  will  now  be  found  in  a  suitable  condition  for  touching 
out  (with  a  pencil)  all  the  spots  in  the  face,  pinholes  ex- 
cepted. Of  course,  some  knowledge  of  stippling  and  draw- 
ing is  indispensable,  for  the  modelling  of  the  face  must  not 
be  disturbed ;  and  only  the  imperfections,  which  appear 
semi-transparent,  taken  out.  These  will  not  show  as  plainly 
as  pinholes,  which  must  be  filled  up  entirely  with  a  fine 
brush  and  India-Ink ;  but  the  freckles  only  requiring  half 
the  amount  of  filling,  can  be  done  with  a  lead-pencil,  which 
is  quite  opaque  enough  for  this  purpose. 

u  A  '  3  H  '  Faber's  pencil  will  be  just  the  thing  to  remedy 
these  in  the  shadows,  as  there  is  less  filling  up  to  be  done ; 
and  a'lH'  Faber  should  be  employed  for  the  light  side 
of  the  face,  as  the  holes  are  deeper  there, — the  surrounding 
film  being  thicker. 

"  If  the  line  along  the  nose,  also,  is  very  narrow  and  black, 
a  fine  brush  and  Ink  will  be  found  better  adapted  than  the 
pencil.  It  must  be  filled  in  with  thin  Ink  and  Gum,  care 
being  exercised  not  to  fill  it  up  entirely,  as  this  would  cause 
it  to  show  white,  and  at  once  destroy  the  modelling  and  the 
likeness. 


RETOUCHING  THE  NEGATIVE. 


133 


"If  the  shadow  under  the  chin  is  smooth  enough  but  too 
dark,  do  not  attempt  to  lighten  it  by  stippling,  thereby 
making  a  number  of  light  spots  all  over  (and  giving  the 
effect  of  a  diseased  skin),  but  make  use  of  a  stump, — and 
herein  lies  the  great  advantage  of  my  system,  namely,  you 
can  lighten  a  surface  with  great  ease  and  rapidity  without 
destroying  the  drawing  or  the  modelling. 

"  The  stumps  usually  sold  are  not  well  adapted  for  this 
purpose,  being  both  too  soft  and  too  thick.  In  order  to 
make  a  stump  suitable  for  retouching,  take  a  piece  of  un- 
sized paper  (i.  e.  printing  paper,  such  as  used  in  books ) 
neither  too  hard  nor  too  soft;  cut  a  strip  about  8  inches 
long,  2  inches  wide  at  one  end,  and  a  half  inch  at  the  other ; 
turn  the  small  end  over  between  the  thumb  and  forefinger 
and  roll  it  up  tightly  into  a  hard  roll  or  stump:  a  little  prac- 
tice will  soon  enable  you  to  regulate  the  making  of  a  sharp 
or  a  dull  point,  as  desired. 

"  Now  take  a  ;6B'  Faber,  which  is  very  soft,  and  scrape 
off  some  of  the  lead  on  a  piece  of  paper.  Fill  your  stump 
and  go  gently  over  the  shadow  under  the  chin,  whiskers, 
mustache,  and  also  the  shadow  of  the  hat  on  the  forehead, 
if  any,  and  in  fact  over  all  those  parts  which  need  to  be 
made  lighter. 

"  Be  careful  not  to  have  too  much  lead  on  your  stump,  be- 
cause the  first  touch  on  the  negative  is  very  apt  to  show  too 
strong ;  it  is  better  to  try  it  first  on  the  edge  of  the  plate 
and  work  the  surplus  off.  Should  the  stump  be  too  full  of 
lead,  you  will  produce  a  spotty  surface ;  this  must  be  care- 
fully avoided,  since  it  cannot  be  removed  by  rubbing.  In- 
deed, no  amount  of  rubbing  with  India-rubber,  bread,  or 
anything  else,  will  accomplish  this  ;  the  rubbing  will  merely 
have  the  effect  of  polishing  it ;  and  it  can  only  be  removed 
by  a  further  rubbing  with  the  pumice — a  necessity,  however, 
which  it  is  best  to  avoid  by  previous  carefulness. 

"  If  you  should  not  get  enough  lead  on,  with  the  first  ap- 

12 


134 


HOW  TO  PAINT  PHOTOGRAPHS. 


plication,  go  over  it  again — little  by  little — until  you  have 
reached  the  required  degree  of  opacity. 

"  When  I  first  made  use  of  pumice  and  a  lead-pencil,  and 
mentioned  it  to  my  photographic  friends,  they  were  of 
opinion  that  the  delicate  shades  of  the  lead  would  soon  wear 
off;  but  this  is  a  mistake,  for  it  adheres  so  firmly  to  the 
roughened  surface  of  the  varnish,  that  the  hardest  rubbing 
with  India-rubber  only  has  the  effect  before  mentioned, 
namely,  to  polish  it ;  hence  the  necessity  of  care  in  order  to 
attain  the  proper  manipulation. 

"  India-Ink  mixed  with  Gum  Arabic  is  very  apt  to  crack 
off  in  the  printing-frame  when  heated,  and  if  mixed  with 
too  much  sugar  (to  prevent  this  cracking  off)  it  will  stick  to 
the  paper  when  damp  ;  therefore  lead  is  much  better.  Yet 
India-Ink  possesses  great  advantages,  and  can  be  used  with 
certainty  when  the  gum  solution  is  composed  of  six  parts  of 
Gum  Arabic  with  one  part  of  rock  candy  {rock  candy  only), 
which  will  have  about  the  right  consistence. 

"  The  details  in  the  beard  or  in  the  hair,  on  the  shadow 
side,  can  be  drawn  in  with  a  Faber  (neither  too  hard  nor 
too  soft),  immediately  over  the  stumped  part ;  and  if  this 
does  not  accomplish  the  object,  it  will  do  a  great  deal  to- 
wards it,  while  a  little  brush-work  in  India-Ink  over  this  will 
be  sure  to  effect  the  desired  end. 

"In  a  weak,  flat  negative — as,  for  instance,  a  copy  of  a 
Ferrotype — a  fine  stump  and  powdered  lead  will  do  a  very 
great  service ;  you  may  rub  somewhat  down  the  nose,  upon 
the  cheeks  and  under  lip ;  and  with  a  brush  and  Ink,  make 
the  shirt-collar  more  opaque,  thus  producing  at  once  bril- 
liancy and  finish. 

"In  a  negative  where  the  sitter  having  moved  there  has 
resulted  a  blurring  of  the*  eyes  and  a  double  contour  of  the 
facial  lines,  a  few  judicious  touches  with  the  lead-pencil  will 
have  a  wonderful  effect  in  removing  these  blemishes. 

"The  Faber  pencils  known  as  6  Siberian^  are  those  which 


MEMORANDA  OF  PRACTICAL  ART. 


135 


I  should  recommend,  as  they  come  in  a  great  variety  of 
grades.  No  precise  directions  can  be  given  to  the  student ; 
he  must  make  his  selection  according  to  the  work  to  be 
done.  Use  a  piece  of  sand-paper  for  sharpening  the  lead  ; 
and  the  same  also  for  sharpening  and  modelling  the  stump. 
Easels  having  different  sized  '  kits '  to  suit  the  negatives, 
can  be  procured  at  the  stockdealers,  and  are  known  as 
4  Retouching  Easels.7 

"  We  come  now  to  the  subject  of  Reproductions.  Before 
I  discovered  the  great  excellence  of  pumice-stone  to  roughen 
the  varnished  surface,  I  used  a  varnish  composed  of  rosin, 
dissolved  in  alcohol,  and  colored  with  iodine.  The  plate 
being  flowed  with  this,  all  those  parts  intended  to  be  darker 
in  the  print  were  rubbed  off',  little  by  little ;  as  the  rubbing 
progresses  the  varnish  assumes  a  powdery  consistence  and 
can  finally  be  rubbed  entirely  down  to  the  glass  surface. 
By  this  method  the  edges  can  be  perfectly  blended,  and  do 
not  present  that  abrupt  appearance,  as  in  the  case  of  scra- 
ping these  parts  out  with  a  knife,  or  similar  instrument. 

"  The  process  of  retouching  is  also  highly  advantageous 
under  circumstances  like  these :  In  flowing  collodion  over 
the  largest  sized  plates  during  very  hot  weather,  when  the 
upper  part  of  the  plate  is  '  set '  before  the  lower  part  has 
entirely  drained  off — thereby  giving  a  film  which  gradually 
thickens  toward  the  lower  edge,  and  the  bad  effect  of  which 
was  apparent  in  the  proof-print — I  overcame  the  difficulty 
by  simply  rubbing  the  whole  varnished  surface  of  the  nega- 
tive with  the  powdered  pumice ;  and  then  applying  the  lead, 
commencing  at  the  thin  side  of  the  film  and  gradually 
blending  away  into  nothing  at  the  thicker  side.  This  will 
result  in  a  uniform  density  and  render  the  negative  quite 
perfect." 

Memoranda  of  Practical  Art. 

In  the  preparation  of  this  work,  many  art-truths  and  other 
memoranda  were  incidentally  suggested  and  culled  from 


136 


HOW  TO  PAINT  PHOTOGRAPHS. 


various  sources,  which  cannot  be  properly  included  under 
any  special  heading ;  maxims  derived  from  recognized  prin- 
ciples of  the  art  of  painting,  and  brief  instructions  easily 
remembered. 

These  we  propose  to  add  herewith,  although  it  is  quite 
probable  some  of  the  ideas  may  have  been  previously  given. 
It  is  not  unlikely,  too,  that  the  beginner  may  fail  to  com- 
prehend the  import  and  use  of  many  of  them  at  first ;  but, 
as  he  progresses  in  practical  ability,  he  should  make  an  effort 
to  increase  his  theoretical  knowledge  also,  until  his  hand  and 
head  shall  work  together  understanding^,  harmoniously, 
successfully. 


Endeavor  to  preserve  transparency  in  all  the  shadows. 

All  retiring  parts  partake  more  or  less  of  gray. 

The  high  lights  of  flesh  should  be  of  a  yellowish-white. 

Strong  shadows  should  be  warm ;  those  of  flesh  (which  is 
semi-transparent)  always  incline  to  red. 

All  shadows  of  flesh  must  have  gray  edges.  This  pre- 
vents hardness,  and  gives  a  rich  effect. 

The  reflected  lights  of  flesh  are  warmer  than  the  surround- 
ing parts. 

The  darkest  parts  of  shadows  are  near  their  edge,  the 
middle  being  illuminated  by  reflected  lights. 

Flesh,  as  it  retires  from  the  eye,  appears  to  grow  colder 
in  tone. 

A  judicious  subordination  of  the  half-lights  to  those  which 
are  more  prominent,  insures  brilliancy. 

Lights  are  less  affected  by  distance  than  shadows,  which 
grow  paler  as  the  distance  increases. 

The  highest  lights  have  generally  but  little  color,  for  all 
color  is  a  deprivation  of  light. 

Warm  colors,  or  those  approximating  to  red  or  yellow, 
advance  ;  cold  colors,  or  those  approximating  to  blue,  retire. 


MEMORANDA  OF  PRACTICAL  ART. 


137 


Contrasts  give  brilliancy  of  effect,  but  they  should  never 
be  violent  or  inharmonious. 

Colors  should  be  laid  with  as  little  rubbing  of  the  brush 
as  possible,  in  order  to  keep  them  fresh  and  bright. 

Every  part  of  the  background  should  appear  to  retire 
from  the  figure. 

As  a  general  rule,  in  mixing  compound  tints,  always  begin 
with  the  predominating  color,  and  add  the  others  to  it. 

Make  all  cast  shadows  of  one  tone,  and  always  warm 
(except  at  the  edges),  varying  of  course  with  the  local  tint. 

The  eye  is  the  proper  judge  of  color,  and  the  perception 
of  color  is  a  natural  gift. 

The  eye  requires  some  repose,  and  is  fatigued  by  an  ob- 
ject overloaded  with  ornament. 

The  first  requisite  in  every  picture  is,  that  it  should  tell 
its  own  story. 

Most  things  that  are  gaudy  are  vulgar;  and  much  that 
does  not  seem  so  exceedingly  vulgar  in  nature  will  appear 
so  in  a  picture. 

A  photograph,  to  be  painted  according  to  art,  ought  to 
approach  as  near  as  possible  to  a  miniature,  and  lose  its 
photographic  appearance  entirely. 

The  shadows,  and  gray  and  pearly  tints,  must  appear  to 
lay  upon  the  flesh,  instead  of  under  it,  as  they  really  do 
occur  in  nature. 

Portrait  and  miniature  painters  invariably  place  their  sit- 
ters higher  than  themselves  ;  photographers  almost  invaria- 
bly, and  improperly,  do  the  reverse. 

The  less  of  any  " medium"  or  "vehicle,"  except  pure 
water,  which  the  colorist  uses,  the  better  his  work  will  be 
likely  to  appear. 

"  Prettiness  "  in  painting  is  not  art,  and  excessive  finish 
is  purely  mechanical;  the  most  accomplished  painters  have 
executed  their  finest  pictures  with  apparently  little  labor. 

Nature  relieves  one  object  from  another  by  means  of  light 

12* 


138 


HOW  TO  PAINT  PHOTOGRAPHS. 


and  shade ;  and  we  find  everywhere  light  opposed  to  dark, 
and  dark  to  light. 

Every  gradation  to  shadow  is  a  gradation  from  color, 
and  the  color  in  shadows,  therefore,  should  never  be  too 
bright. 

The  style  of  execution  should  vary  with  the  subject,  to 
aid  in  expressing  character ;  vigorous  and  bold  in  men, 
delicate  and  tender  in  women  and  children. 

Avoid  harshness.  Let  every  line  be  softened  as  in  nature, 
where,  though  the  boundary  of  sight  is  distinctly  marked, 
there  are  no  positive  outlines. 

When  the  outline  of  a  figure  is  ungraceful,  it  may  judi- 
ciously be  lost  to  some  extent  in  the  shadow  of  the  back- 
ground. 

Massing  lights  and  shadows  together  will  insure  breadth 
and  grandeur  of  effect.  A  skilfully-managed  background 
will  greatly  aid  this  result. 

The  most  careful  manipulation  and  elaborate  finish  will 
be  ineffective,  without  constant  attention  to  a  sufficient 
preservation  of  breadth  of  light  and  shade. 

Do  not  make  it  a  rule  to  begin  and  finish  any  particular 
part  at  once;  but  keep  the  picture  together — get  every  part 
of  it  in  before  you  begin  to  finish. 

Keep  reflected  lights  warm,  unless  the  object  from  which 
they  are  derived  is  visible ;  in  which  case  they  will  partake 
of  its  especial  tone  and  color. 

Colors  should  be  kept  pure  and  transparent,  truthful  to 
the  subject,  and  harmonious  both  with  each  other  and  the 
nature  of  the  picture. 

It  is  preferable  that  yellow  should  predominate  in  a 
picture  rather  than  white,  though  yellow  should  always  be 
in  less  quantity  than  blue  and  red. 

The  intensity  of  tones  of  colors  should  be  equal  in  the 
same  composition ;  but  a  dark  and  light  hue  may  be  used 
together  with  good  effect. 


MEMORANDA  OF  PRACTICAL  ART. 


139 


A  great  quantity  of  the  same  color  in  one  part,  and  little 
or  none  of  it  in  another,  are  fatal  to  the  general  effect,  and 
disturb  the  balance  of  colors. 

Large  masses  of  one  color  should  not  catch  the  e}re;  it 
should  receive,  at  the  same  moment,  the  combination  of 
several  colors. 

All  colors,  simple  or  compound,  have  a  tendency  to  tint 
surrounding  objects  with  a  faint  spectrum  of  their  comple- 
mentary color. 

The  shape  and  composition  of  a  picture  should,  as  far  as 
possible,  harmonize — not  contrast  with — one  another ;  and 
the  selection  of  both  should  be  consistent  with  the  subject. 

The  object  of  all  photographic  representations  of  persons 
being  to  secure  an  exact  likeness,  remember  that  the  head 
is  the  principal  object  of  interest,  and  everything  else  must 
be  done  with  an  eye  to  set  that  off  to  the  greatest  advantage. 

The  color  of  most  objects  is  best  discerned  in  the  middle 
tints ;  strong  colors  are  reserved  for  the  parts  nearest  the 
eye ;  receding  objects  are  fainter  in  color  than  those  near 
the  eye. 

In  the  consideration  of  a  picture,  or  any  work  of  art,  a 
motive,  or  subject,  is  implied ;  and  clearly  to  express  such 
motive  should  be  the  leading  object  in  its  composition  or 
arrangement. 

Painters  usually  throw  more  light  upon  the  heads  of  chil- 
dren and  women  than  they  do  on  the  male  head,  which  is 
better  suited  to  a  depth  of  shadow.  Heads  of  aged  persons, 
of  both  sexes,  should  likewise  be  placed  in  a  full  light,  as  it 
tends  to  soften  and  subdue  the  permanent  markings  of  age. 

In  water-color  painting,  the  first  colors  should  always  be 
bright  and  pure,  because  they  may  be  easily  lowered  to  the 
desired  tone;  but  if  their  purity  is  once  sullied  by  admix- 
ture with  other  colors,  their  original  brightness  can  never 
be  recovered. 

The  presence  of  yellow  in  the  vicinity  of  red  and  blue,  or 


140 


HOW  TO  PAINT  PHOTOGRAPHS. 


a  small  quantity  of  that  color  interposed  between  them,  has 
the  good  effect  of  preventing  their  borrowing  from  each 
other,  and  appearing  purple.  The  interposition  of  white 
has  a  similar,  but  colder  effect. 

The  dash  and  decision  of  execution  which  so  frequently 
attracts  our  admiration  in  works  of  art,  in  which  the  will 
and  the  way  of  their  accomplishment  appear  as  a  single 
impulse,  are  often  more  the  result  of  preparatory  study  and 
forethought  than  is  generally  suspected. 

It  is  not  a  good  manner  of  working  to  stick  at  one  picture 
until  it  is  completely  finished ;  but  far  better  to  have  more 
than  one  on  hand,  as  by  this  means  when  your  fresh  eye  is 
brought  to  each  picture  in  its  turn,  it  will  at  once  detect 
points  that  may  be  improved,  but  which  your  jaded  vision 
had  before  overlooked. 

Pictures  cannot  be  painted  by  rule  ;  for  rules  themselves 
are  derived  from  pictures,  rather  than  pictures  from  rules, 
precepts,  or  books.  If,  in  viewing  a  painting,  the  attention 
is  involuntarily  drawn  to  a  fine  or  a  bad  effect,  the  mind  of 
the  zealous  student  will  at  once  endeavor  to  perceive  by  what 
means  the  fine  effect  was  produced,  or  by  the  disregard  of 
what  principles  the  bad  effect  resulted.  Thus  he  will  natu- 
rally originate  rules  for  his  own  guidance,  by  which  he  may 
be  able  to  imitate  the  one  and  avoid  the  other. 

"Dirty  tints,"  in  coloring,  express  that  the  tone  neither 
represents  true  light  and  shade  nor  yet  true  coloring;  dirty 
tints  are  most  frequently  the  result  of  inexperience  or  timid- 
ity in  using  colors ;  thus,  passing  wash  after  wash  of  various 
pigments,  without  attention  to  their  differing  qualities,  will 
soon  produce  this  disagreeable  result.  To  prevent  it,  the 
student  should  make  experiments  with  his  pigments,  and 
thus  learn  beforehand,  the  result  and  effect  different  washes 
or  mixtures  will  produce. 

•  Mannerism  in  art  may  be  described  as  any  peculiar  way 
of  treating  or  handling  pictorial  subjects ;  the  work  being 


MEMORANDA  OF  PRACTICAL  ART. 


141 


executed  in  one  unvaried  manner,  arising  doubtless  from 
the  limited  ideas  of  the  artist,  or  a  want  of  facility  or  variety 
in  the  way  in  which  he  embodies  them.    Avoid  it. 

Red  and  green  are  not  variety,  but  contrast.  It  is  only 
rarely  and  in  the  smallest  possible  quantities,  that  nature 
allows  herself  any  violence  of  contrast,  whilst  her  incessant 
endeavor  is  after  variety.  If  a  face  is  excessively  fair  and 
delicate  in  color,  the  hair  and  eyes  are  correspondingly  light. 

As  the  general  color  of  the  atmosphere  is  supposed  to  be 
blue,  distant  objects  lose  much  of  their  local  color,  and  as- 
sume more  or  less  of  a  gray  tint ;  and  details  become  less 
distinct  until  they  are  totally  lost  in  the  distance. 

Keep  your  brushes  clean  by  frequent  washing,  but  never 
leave  them  standing  in  water,  nor  allow  them  to  dry  charged 
with  color — especially  body-color. 

To  prevent  any  one  color  from  becoming  conspicuous,  it 
must  be  harmonized  into  others  by  gradation,  and  not  be  too 
violently  contrasted  by  complementaries  or  inharmonious 
tints.  A  color  out  of  harmony  may  be  quite,  if  not  more 
conspicuous  than  one  contrasted  with  its  complementary, 
only  the  effect  will  be  disagreeable  instead  of  agreeable.  A 
color  becomes  conspicuous  when  it  is  decidedly  unnatural 
or  out  of  place,  as  blue  in  trees,  or  pink  on  walls.  So  in 
the  human  face,  the  same  amount  of  color  which  placed  on 
a  lip  is  scarcely  noticed,  if  removed  to  the  nose  becomes 
strikingly  conspicuous.  A  single  spot  of  color  in  a  land- 
scape may  often  appear  too  prominently,  unless  repeated 
by  other  smaller  and  more  broken  portions. 

Every  color,  as  well  as  every  thing,  is  good  and  useful  in 
the  right  place ;  it  is  only  the  excess  that  is  disagreeable  or 
hurtful.  Some  sooner  appear  unnatural  or  stronger  than 
others.  A  constant  recurrence  to  any  one  favorite  pigment 
or  tint  for  effect  is  apt  to  beget  mannerism;  it  then  becomes 
worse  than  useless;  it  injures  instead  of  improving. 

An  appearance  of  dexterity  and  ease  is  attractive  in  every 


142 


HOW  TO  PAINT  PHOTOGRAPHS. 


art,  and  in  none  more  than  in  water-color  painting:  the  labor 
with  which  the  effect  is  attained  should  be  hidden. 

Two  folds  of  similar  size  and  form  should  not  be  near 
each  other. 

It  is  not  by  the  great  variety  of  tints  that  fine  coloring  is 
produced,  so  much  as  by  judicious  combinations  and  the 
manner  in  which  those  are  employed. 

Accessories  should  be  subordinate  to  color,  light,  and  ef- 
fect, with  respect  to  the  head. 

Breadth  of  effect  is  obtained  when  the  lights  of  a  picture 
are  so  arranged  that  they  seem  to  be  in  masses,  and  the 
shadows  are  massed  to  support  them,  so  that  the  attention 
of  the  spectator  is  powerfully  arrested,  and  his  imagination 
excited  to  supply  the  details. 

Depend  upon  simplicity  of  arrangement  for  certainty  of 
effect. 

The  proper  situation  of  strong  color  is  neither  in  the  high 
lights  nor  in  the  deep  shade,  for  it  would  destroy  the  char- 
acter of  either ;  but,  if  it  is  made  use  of  as  an  intermediate 
link,  it  will  unite  both,  and  at  the  same  time  preserve  a 
greater  consequence.  Whether  it  is  to  be  warm  or  cold, 
must  depend  upon  the  color  of  the  principal  light,  of  which 
it  is  to  be  considered  an  extension,  conveying  its  influence 
into  the  darkest  recesses. 

Strong  color  requires  rich,  deep  shadow  to  support  it. 

That  the  picture  should  consist  of  both  warm  and  cold 
colors,  seems  as  indispensable  as  that  it  should  have  light 
and  shade ;  but,  which  shall  form  the  light  and  which  the 
shade,  is  entirely  at  the  option  of  the  artist.  It  is,  how- 
ever, necessary  that  they  should  have  separate  situations, 
and  also  unite  both  extremes  of  the  work  by  an  exchange  of 
portions  of  each  color. 

Colors  that  are  most  agreeable  to  the  eye,  are  such  as  the 
eye  has  become  accustomed  to  from  their  constantly  being 
presented  to  the  sight. 


CONCLUSION. 


143 


White  and  black  can  be  reconciled  only  by  the  interposi- 
tion of  gray ;  and  red  and  blue,  by  the  presence  of  a  third 
color,  combining  the  properties  of  warm  and  cold. 

Conclusion* 

In  leaving  to  the  student  the  instructions  contained  in  the 
foregoing  pages,  we  desire  to  remind  him  of  the  necessity 
of  constant  practice,  and  the  advantage  to  be  derived  from 
the  examination  and  study  of  good  examples.  Be  not  dis- 
couraged by  the  difficulties  which  may  appear  to  loom  up 
between  the  beginner  and  the  expert  painter — for  the  pro- 
cess of  coloring  photographs  is  by  no  means  so  difficult  as 
might  be  at  first  supposed. 

Commence  upon  unobjectionable  photographs,  so  that 
there  be  no  deficiencies  in  them  to  increase  whatever  diffi- 
culties may  attend  your  first  efforts. 

Endeavor  to  comprehend  your  work.  Judge  well  among 
the  lights,  which  are  those  and  in  what  number,  that  pos- 
sess the  first  degree  of  brightness ;  and  so,  also,  among  the 
shadows,  which  are  those  that  are  darker  than  the  others, 
and  in  what  manner  both  mingle  together — remembering 
that  these  lights  and  shades  must  be  finally  joined  without 
hard  lines  of  definition,  and  with  artistic  effect. 

Do  not  attempt  the  execution  of  pictures  too  large  or 
complicate,  in  the  first  place ;  and,  as  this  book  covers  the 
whole  range  of  practical  work,  seek  its  instructions  con- 
stantly, rather  than  venture  upon  experiments  of  your  own. 
Remember  that  the  foregoing  contents,  prepared  for  your 
guidance,  cost  others  years  of  labor  and  study,  and  that,  in 
all  probability,  it  is  competent  to  assist  the  diligent  student 
in  every  emergency. 

To  such  as  have  studied  this  little  volume  with  a  consci- 
entious desire  to  accomplish  in  themselves  the  purpose  for 


144 


HOW  TO  PAINT  PHOTOGRAPHS. 


which  it  has  been  written,  we  would  submit  for  their  guid- 
ance the  following  important  points : 

•First — Systematic  Working  will  accomplish  much  in 
the  end,  although,  as  the  student  has  already  learned,  the 
various  qualities  of  tone  in  the  photograph  will  not  always 
permit  the  adaptation  of  the  same  methods.  But  he  can  de- 
vise his  plans,  and  have  them  ready  for  application  to  light 
or  dark  prints  respectively,  and  thus  know  beforehand  just 
what  to  do. 

Second. — Careful  Handling  will  economize  his  time  and 
labor,  obviate  the  necessity  for  alterations  or  corrections, 
preserve  the  purity  and  beauty  of  the  colors,  and  give  char- 
acter to  the  work.  The  very  soul  of  water-color  painting  is 
to  know  what  to  do,  and  then  to  do  it  at  once  !  The  posses- 
sion, or  the  want  of  this  quality,  will  be  easily  perceptible, 
to  a  discerning  eye,  in  every  man's  work.  Different  from 
oil  painting,  water-color  allows  no  experimenting,  no  patch- 
ing, no  corrections  of  any  importance. 

Third. — Determination  to  surmount  all  difficulties,  if  it 
can  be  done  by  study  and  practice.  Strive  to  combat  dis- 
appointment, if  such  a  feeling  attend  your  earlier  efforts. 
Try  to  obtain  new  ideas  from  the  more  perfect  works  of 
others  who  are  recognized  as  proficients,  and  let  every  pic- 
ture of  your  own  contain  points  which  indicate  an  advance 
of  your  efforts  at  least  one  step  farther. 

Finally.  —  Practice,  based  upon  the  directions  given, 
must  result  in  enabling  the  student  to  soon  familiarize  him- 
self with  the  exigencies  which  are  incident  to  photographic 
painting,  and  render  the  labor  easier ;  but  ultimate  success 
will  depend  upon  the  individual — his  natural  capacities,  en- 
thusiasm for  his  work,  and  a  careful  resolve  to  achieve  the 
victory. 


INDEX. 


PAGE 

Accessories,   86 

General  remarks  on,   86 

Carpets  and  Table-covers,   90 

Curtains,   88 

Furniture,   89 

Arms  and  hands,  painting  of,   68 

Backgrounds,   92 

General  remarks  on,   .  .92 

Landscape,   100 

Opaque,        .       .   96 

Pastel,  colored,   100 

Gray,  for  India-Ink  work,   98 

Practical  directions,   94 

Brushes,  Materials,  etc.,     .    26 

Practice  with,   50 

Carnation  Tints, .       .       .   56 

Cheeks,  painting  of,   65 

Chin,  painting  of,   66 

Colors,  classification  of,   13 

Complementary,   15 

Diagram  of,   16 

Characteristic  effects  of,   18 

Introductory  directions,   52 

List  of  colors,      .    24 

Properties  and  uses  of, .       .       .       .  '    .       .       .  .32 

^Relations  and  harmonies  of  (in  rhyme),      ....  20 

The  repetition  of, .       .       .  ^   91 

18 


146  INDEX, 


PAGE 

Contrast,     .       .       .       •   16 

Of  Color  and  Tone,     .    17 

Conclusion,  .       .       .           «   143 

Drapery,   72 

Selection  of  colors  for,   72 

Green  draperies,   73 

Ked  draperies,      .       .       .       .       .       ....  73 

Yellow  draperies, .              .   73 

Blue  draperies,   74 

Black  draperies,   74 

Orange  draperies,   74 

Yiolet  draperies,   74 

White  draperies,  74,  76 

Method  of  painting,   76 

Compound  colors  for,  .    82 

Duplicate  Picture,      .   51 

Ears,  painting  of,   67 

Eyes,  painting  of,       ...    61 

Colors  for,    .   64 

Flesh-washes,   54 

Eor  men,   54 

For  women,   55 

Framing  Pictures,   129 

Gold  ornaments,  painting  of,   85 

Grays,  for  flesh,   69 

Gum  Water,   29 

Hair,  painting  of,       .       .   56 

Colors  for,    .       .       .  .       .  .       .  .58 

Hatching,  directions  for,   47 

Head-dress,  colors  for,   75 

India-Ink  work,   113 

Introduction,   9 

Ivorytypes,   124 


INDEX.  147 

PAGE 

Jewelry,  etc.,  painting  of,  85 

Landscape  Backgrounds,  100 

Light,  arrangement  of,  31 

Lips,  painting  of,  66 

Method  of  Painting,  103 

Memoranda  of  Practical  Art,  135 

Neck  and  Bosom,  painting  of,  67 

Opaque  Backgrounds,  96 

Painting,  General  Method  of,   103 

Pastel  Backgrounds,   100 

Pearly  Tints,  for  flesh,   69 

Porcelain  Painting,   120 

Portraiture,  remarks  on,      ........  21 

Precious  Stones,  painting  of,   85 

Pure  Water,  necessity  of  using,   30 

Eetouching  Negatives,  131 

Shadow  Color  for  flesh,  56 

Simple  Colors,  use  of,  80 

Solar  Camera  pictures,  128 

Stippling,  directions  for,  49 

Touches,   .71 

Varnish  for  Water  Colors,  30 

Washing,  directions  for,   45 

Water  Colors,  List  of : 

Properties  and  Uses  of,   32 

Bistre,   32 

Brown  Pink,   32 

Burnt  Sienna,   33 

Burnt  Umber,   33 

Cadmium  Yellow,   33 


148 


INDEX. 


PAGE 

Carmine,   33 

Chinese  White,   34 

Crimson  Lake,      .       .   34 

Cobalt  Blue,   35 

Dragon's  Blood,     .       .       .   35 

Emerald  Green,   35 

Flake  White,   36 

French  Blue,  .       .       .  .36 

Gamboge,   36 

India-Ink,   113 

Indigo,   37 

Indian  Red,   .       .   37 

Indian  Yellow,   37 

Lampblack,   .       .       .   38 

Lemon  Yellow,   38 

Light  Red,                                                                    .  38 

Madder  Brown,   39 

Neutral  Tint,   39 

Orange  Chrome,   39 

Olive  Green,   40 

Pink  Madder,   40 

Prussian  Blue,   40 

Prussian  Green,   40 

Purple  Madder,     .       .       .       .       .  •     .       .       .  .40 

Purple  Lake,   41 

Raw  Sienna,  .       .       .   41 

Raw  Umber,   41 

Rose  Madder,   41 

Roman  Ochre,       .  .41 

Scarlet  Lake,   42 

Scarlet  Vermilion,                                                        .  42 

Sepia,   42 

Vandyke  Brown,   43 

Vermilion,   43 

Venetian  Red,   44 

Yellow  Ochre,   44 


DO  YOU  BEAD  THE 


IT  IS  AN 

ILLUSTRATED  MONTHLY  JOURNAL, 

DEVOTED  TO  PHOTOGRAPHY. 
EDITED  BY  EDWARD  JL.  WILSON. 

$5.00  a  Year;  $2.50  for  six  Months;  Sample  Copy  sent,  post-paid,  to  any 
address,  for  50  Cents. 


It  is  the  most  interesting,  beautiful  and  valuable  Photographic  Journal 

published  in  the  world. 
Every  Number  contains  a  handsome  Photograph. 
The  staff  of  contributors  is  pre-eminently  the  best  of  the  day. 
Its  contents  are  varied  to  suit  the  wants  of  all  classes. 
It  is  live,  wide-awake,  spicy,  and  elevating. 
It  stands  up  for  the  rights  of  its  patrons. 

It  is  the  official  organ  of  the  National  Photographic  Association. 


During  the  year,  fine  specimens  may  be  looked  for  from  eminent  French,  German, 
English,  Scotch,  Canadian,  and  American  artists ;  altogether,  it 
will  be  the  most  attractive  Journal  published. 
Photographers  who  are  willing  to  make  effort  to  extend  its  circulation  will  re- 
ceive a  list  of  premiums  offered,  on  application  to  the  publishers. 


WHY  YOU  SHOULD  TAKE  IT. 

1.  No  photographer  can  afford  to  do  business  without  a  journal  to  aid  him  in  his  work 
and  to  inform  him  as  to  what  is  going  on  elsewhere. 

2.  The  Philadelphia  Photographer  is  the  or  ly  live,  wide-awake  photographic  newspaper  in 
the  country,  and  gives  the  freshest  and  best  information  pertaining  to  the  art  from  all  parts 
of  the  world  the  soonest. 

3.  Its  editor  and  staff  of  contributors  are  practical  workers  in  photography,  and  it  is 
devoted  solely  to  the  interests  and  wants  of  those  who  practice  photography  for  a  livelihood.  It 
independently  takes  sides  against  all  who  would  impose  upon  its  subscribers,  and  helps  them 
fight  their  opponents,  its  chief  claim  being  to  lighten  the  troubles  and  increase  the  skill  and 
knowledge  of  every  Photographer. 

4.  Every  number  contains  a  large  photographic  specimen,  by  some  leading  home  or  foreign 
artist,  giving  its  subscribers  an  opportunity  of  possessing  and  studying  the  work  of  their 
most  skilful  co  laborers — an  advantage  which  cannot  be  overrated  by  the  artist. 

A  great  many  photographers  do  not  take  the  Philadelphia  Photographer.  We  ask  the  co- 
operation oi  those  who  do,  in  placing  it  in  the  hands  of  every  one  who  does  not,  and  call  their 
attention  to  the  list  of  Premiums  offered  on  the  third  page  of  the  cover  of  every  issue. 

Please  send  us  the  addresses  of  those  you  know,  who  are  in  the  business  anywhere.  We  will 
reward  you  with  pictures  or  books,  and  send  copies  of  the  Journal  to  Photographers  not  taking  it. 

BENERMAN  &  WILSON,  Publishers, 

Office,  S.  W.  cor.  Seventh     Cherry  Streets, 
(Sherman's  Building),  Philadelphia. 


13 


145 


".A-ILL  BIGHT." 


THE  JAPANESE  WATER  COLORS, 

FOR  PAINTING 

Large  Photographs,  Cartes-de-Visite,  Views,  etc. 

The  Japanese  Colors  are  prepared  with  great  care,  and  are  of  uniformly  good 
quality.  This  is  a  consideration  of  great  importance  to  the  artists,  the  success  of 
whose  efforts  in  coloring  depmds  upon  the  evenness  and  excellence  of  his  colors, 
which  can  only  be  attained  when  they  are  made  ot  standard  strength. 

They  are  put  up  in  boxes  containing  12  1-oz.  bottles  of  twelve  different  tints, 
and  are  superior  to  any  in  the  market.    PRICE,  $1.50  PER  BOX. 

For  sale  by  all  Photographic  Stockdealers  and  Dealers  in  Artists'  Materials 
throughout  the  Country ;  also,  at  all  Fancy  Stationery  Stores,  and  by 

SCOVILL  MANUFACTURING  COMPANY, 

No.  4  BEEKMAN  STREET,  N.  Y. 

Avoid  imitations,  and  get  the  GENUINE  JAPANESE. 


S€0VILL 
HAIIfAillllli  WHPAinr, 

3STO-  4.  BEEKMAK*  STREET, 
NEW  YORK. 

IMPORTERS  OF 

Newman's  Dry  Colors. 

Newman's  Sable  Pencils. 

Newman's  Dusters. 

Sable  Pencils,  assorted  sizes. 

Quill  Dusters, 

Plat  Dusters. 

Gold  Saucers. 

Silver  Saucers. 

Artists'  Roll  Paper  (Cartoon). 

Saxe  Paper,  35  x  46. 

146 


AKE  Y  OUR  f  1WN ! 


IT  has  been  extremely  difficult  to  secure  a  FIRST-CLASS 
WATER  COLOR  that  could  be  applied  to  Albumen  Prints. 

THIS  TROUBLE  IS  ENTIRELY  MET  BY  BB. 

Jacobsen's  Aniline  Colors. 

These  Colors  are  in  the  form  of  a  paste, — each  one  being  in  a 
porcelain  dish, — and  are  soluble  in  water.  The  superior  richness, 
brilliancy,  and  beauty  of  Aniline  Colors  is  undenied.  They  are  put 
up  in  tin  cases,  with  Brushes,  Varnish,  Enamel,  etc.,  at  $7.50  each 
case.    Sent  by  mail  or  express  on  receipt  of  price. 

We  are  Sole  Agents  for  the  United  States. 

Notman's  Canadian  Photographic  Enamel. 

Alabaster  Paper,  unequalled  surface  for  Coloring. 
Brushes  ;    Blenders  and  Artists'  Colors. 

Papers,  Cardboard,  Canvas  Stretchers. 

-Wilson's  Photographic  Rest  and  Poser. 
Knell's  Posing  Chairs,  Lounges,  etc. 

Improved  Photographic  Envelopes. 

Fancy  Furniture,  Accessories,  Urns,  Vases,  etc. 

Porcelain  Glass,  Ground  and  Unground. 

Fancy  Passepartouts  and  Frames. 

PUBLISHERS  AND  DEALERS  IN 

Chromos,  Stereoscopes  and  Stereoscopic  Pictures.  Photographic  Views  and  Studies, 
Foreign  and  Domestic,  Lenses,  Apparatus.  (  'hemicals,  and  Backgrounds. 
All  the  Colors  for  making  Tinted  Photographs. 

FENNEMORE'S  SALTED  COLLODION. 
AGENTS  FOE  American  Artists'  Association,  for  Coloring  for  the  trade. 

Try  us,  please.        WILSON,  HOOD  &  CO., 

822  Arch  St.,  Philadelphia. 

147 


Scene  Fainting  Establishment, 

684  BBOADWAY,  NEW  YOEK. 


FIRST-CLASS  PLAIN  AND  FANCY  BACKGROUNDS, 

Papier  Mache  Rocks, 

Rustic  Arbors, 

and  Rustic  Fences, 
light,  durable,  and  cheap. 

Our  Backgrounds  are  now  in  use  in  the  Galleries  of  Sarony, 
Brady,  Kurtz,  Gurney,  Fredericks,  and  the  principal  galleries 
on  this  continent. 

Sample  Photographs  sent  on  application. 

HEADQUARTERS  FOR  NOVELTIES  IN  BACKGROUNDS 
AND  ACCESSORIES. 

Address 

L.  W.  SEAVEY, 
684  Broadway,  New  York. 

N.B.  Visitors  will  find  us  on  the  top  floor. 
148 


591  BROADWAY, 


MANUFACTURERS  AND  IMPORTERS  OF 


Photographic  Materials, 


RETOUCHING  FRAMES  FOR  SALE. 


Our  experience  of  thirty  years  in  this  business  warrants 
us  in  engaging  that  all  orders  sent  to  us  will  be  promptly 
and  properly  filled. 

For  further  particulars  send  for  our  Bulletin. 

13*  149 


HEADQUARTERS  FOR  THE  TRADE. 

LEWIS  PATTBERG  &  BRO., 

561  &  563  BROADWAY, 

MAN  UFACTURERS  OF 

Fancy  Show  Displayers, 

PASSEPARTOUTS  OF  EVERY  VARIETY, 

BEVELLED  MATS, 

DOUBLE  EMBOSSED  MATS, 

FANCY  VELVET  AND  METAL  FRAMES. 


The  Standard  Picture  Mats, 

A  BEAUTIFUL  FITTING  ADAPTED  FOE  EVERY  STYLE 
AND  CLASS  OF  PICTURE. 


EVERY  STOCKDEALER  KEEPS  THEM. 

150 


IE.  OLIITTOlsr  &c  CO., 


MANUFACTURERS  OF 


grists  &  f  l]0t0gra^ersf  ^rus|es. 


No.  908  CHESTNUT  STREET, 


PHILADELPHIA. 


SPECIAL  ATTENTION  PAID  TO  QUALITY  IN  ALL  GOODS. 


Artists'  Bed  and  Black  Sable  Brushes. 
Winsor  &  Newton's  Sable  Brushes  for  Water  Colors, 
Round  and  Flat  Badger-hair  Blenders, 
Fitch-hair,  Flowing  and  Round  Gilders'  Brushes, 
English  and  French  Flat  Camel-hair  Varnish  Brushes, 
Flat  Fitch  and  Camel-hair  Lacquering  Brushes, 
Round  Camel-hair  Dusters, 
Flat  Bristle  Varnish  Brushes, 
Flat  Badger-hair  Varnish  Brushes, 
Bristol  Poonah  Brushes, 
Flat  and  Round  Bristle  Artists'  Brushes, 
•   Red  and  Black  Sable  and  Camel-hair  Pencils,  of 
every  size  and  quality. 

A  Large  Stock  of  the  above  always  on  hand,  and  all 
orders  for  the  same  will  be  promptly  executed* 


DEALERS  FURNISHED  WITH  PRICE  LISTS  UPON 
APPLICATION. 

161 


TRY  IT,  AND  BE  CONVINCED. 


THE  BEST 


IN  USE  IS 

Lewis  &  Holt's  Positive  and  Negative, 

Sold  with  a  printed  Formula  accompanying  each  Bottle. 

Being  among  the  first  in  this  country  to  make  COLLODION 
PICTURES,  they  can  warrant  it  to  be  one  of  the 
best  in  use. 


ALSO,  THEIR 

Adamantine  Varnish, 

FOR 

Amtrotypes,  Negatives,  ani  Melainoljpes. 

This  Yarnish,  when  applied  to  Negatives,  dries  in  a  few  seconds  per- 
fectly hard,  and  does  not  lower  the  intensity,  or  soften  by  the  heat  of  the 
sun,  in  Printing.  It  gives  a  beautiful  gloss  and  brilliancy  to  Ambro- 
types. 

FOR  SALE  BY  STOCKDEALERS  GENERALLY. 
Prepared  by 

R.  A.  LEWIS, 

160  Chatham  Street,  New  York. 

152 


charles  cooper  &  co, 

Manufacturing  jChemists, 

EEFINEES,  AND  IMPOETERS, 

150  CHATHAM  ST.,  NEW  YORK, 
Factory  at  Newark,  N.  J. 

Offer  to  the  trade  the  very  best  of 

Photographic  Chemicals, 

Solid  Glass  Baths  up  to  15  x  20, 

Best  kind  Evaporating  Dishes, 

White,  Bound  Filtering  Papers,  &c,  Sc. 

AT  THE  LOWEST  WHOLESALE  PKICES. 


Having  engaged  the  services  of  Mr.  Frank  Tomlinson  especially  for  the  manu- 
facture of  Photographic  Qun-Cotton,  we  offer  now,  Negative  and  Positive  Cotton 
of  the  highest  standard,  under  the  trade  mark  of  Union  Cotton  for  Negatives, 
and  Union  Cotton  for  Positives. 

Every  ounce  is  warranted,  and  we  would  respectfully  ask  you  to  give  it  a  trial. 

We  carry  on  successfully  the  Refining  of  Photographic  Wastes,  and  make 
honest  returns. 

CHARLES  COOPER  &  CO. 

153 


L  E  _A_'S 

MANUAL  OF  PHOTOGRAPHY. 


The  most  Complete  and  Practical  Manual  of  Photography  ever  published. 
By  M.  CAKEY  LEA,  Esq. 
Over  one  thousand  Copies  sold  already. 


The  scope  of  this  Manual  is  twofold.  It  is  intended  both  to  afford  an  introduc- 
tion to  Photography  for  those  previously  unacquainted  with  the  subject,  and  also 
as  a  book  of  reference  for  those  who  are  already  versed  in  the  subject. 

The  pages  are  almost  as  large  as  those  of  the  Philadelphia  Photographer ',  and 
the  book  is  priced  low  to  bring  it  within  the  reach  of  all. 

Price,  post-paid,  $3.00.    For  Sale  by  all  Dealers. 


Edited  by  Edward  L.  Wilson, 


Editor  Philadelphia  Photographer. 

A  Photographic  Annual  and  Dart-Room  Companion. 

Taper,  50  cts.    Cloth,  $1.00,  Fostjmid. 

This  little  annual  contains  144  pages  of  articles  of  a  strictly  practical  nature  by 
the  most  emii  ent  artists  in  the  world  for  every-day  reference. 

In  the  next  issue  (1870)  the  editor  introduces  an  important  novelty  in  giving 
short  papers  written  specially  for  it,  from  several  eminent  American  artists,  among 
whom  ate  William  Notman,  H.  T.  Anthony,  Prof  Towler,  John  C.  Browne,  J. 
H  Kent,  H.  J  Newton,  Charles  Wager  Hull,  Jex  Bardwell,  W.  J.  Baker,  Wil- 
liam Kurtz,  Lscar  G.  Mason,  B  W  Kilburn,  John  Moran,  and  others;  besides 
articles  new  to  the  tr;ide  by  weil-known  English,  French,  and  German  writers, 
the  whole  making  Mosaics  for  1870  better  than  any  previous  edition. 

$^  It  will  be  ready  in  November. 


We  also  offer  the  following  : 

LEAF  PRINTS ;  OR.  GLIMPSES  AT  PHOTOGRAPHY.  A  most  complete 
Printer  s  Manual.  As  the  leaf  is  the  first  of  the  tree,  so  is  Leaf  Prints  the  fiist 
of  the  great  tree  of  Phot  -graphic  knowledge.     Cloth  bound,  $1.25. 

THE  AMERICAN  CARBON  MANUAL.  With  specimen  print.  Cloth,  $2.00. 
The  most  concise  and  complete  work  published  on  the  Carbon  Process. 

BENERMAN  &  WILSON,  Publishers, 

S.  W.  cor.  Seventh  &  Cherry  Sts.,  Phila. 

154 


SOLE  AGENTS  IN  THE  UNITED  STATES  FOR 
THE  CELEBRATED 

VOIGTLANDER  &  SON 

TUBES  AND  LENSES. 

These  lenses  are  of  much  shorter  focus,  work  much  quicker,  and  with  more 
depth  of  focus  than  any  other  instrument  in  use. 


ALSO  SOLE  AGENTS  FOR  THE 

DAKLOT  LENSES. 

M.  Darlot  received  a  Gold  Medal  at  the  late  Exposition  in  Paris,  for  the  best 
lenses  made  in  France. 


TINTYPE  CAMERAS. 

The  best  and  cheapest  in  use,  considering  the  superior  quality  over  all  othe  rs 
in  the  market. 


STEREOSCOPIC  LENSES. 

Our  new  Stereoscopic  Lenses  are  acknowledged  by  all  to  be  the  best  in  the 
market. 


For  full  description  of  our  lenses  and  other  goods,  send 
for  Price  List. 

BENJ.  FRENCH  &  CO., 

159  Washington  St.,  Boston. 

155 


THE  DALLMEYER  LENSES 


For  Price  List  and  Full  Description  of  the  various  Styles  and  Sizes  of 
these  valuable  Lenses,  apply  to 


591  BROADWAY,  NEW  YORK, 


SOLE  AGENTS  FOR  THE  UNITED  STATES. 


J8@*  The  splendid  Stereoscopic  Views  of  Wm,  England  and  G.  W. 
Wilson  are  made  with  Dallmeyer  Lenses.  All  Stereoscopic  Photogra- 
phers should  have  them. 

The  beautiful  Cabinet  Card  Pictures  of  the  White  Fawn,  by 
Gurney  &  Son,  are  made  by  a  3  B  Patent  Quick-Acting  Dallmeyer. 

We  subjoin  a  few  extracts  from  the  numerous  unsolicited  testimonials 
we  have  received  from  our  customers. 

Mr.  A.  D.  Deming,  Oil  City,  Pa.,  writes: — "The  Dallmeyer  Tube  continues  to  give  entire 
satisfaction.  Scarcely  a  customer  that  has  cartes  de  visite  taken  with  it  but  what  dupli- 
cates the  order  at  once  on  receiving  the  first  lot.  The  standard  of  my  work  has  b**en  im- 
proved very  much  by  having  such  a  good  instrument  to  operate  with,  which,  of  course,  in 
due  time,  will  increase  my  business  in  the  same  proportion." 

From  S  B.  Russell,  Navasota,  Texas. — "  My  work  is  increasing  double  since  I  received  the 
Dallmeyer  Lens.  It  is  the  cheapest  of  all  instruments.  One  artist  has  tried  mine  (No.  2  B), 
and  is  determined  to  have  one  at  once." 

From  J.  F.  Ryder,  Cleveland,  Ohio.— "I  have  to  say  in  favor  of  the  Dallmeyer  Lens  that  it 
improves  on  acquaintance.   The  longer  I  have  it,  the  more  I  prize  it." 

From  G.  D.  Wakely,  Washington,  D.  C. — u  The  pair  of  Dallmeyer  Lenses  you  sent  me  are 
very  fine.   They  are  the  most  useful  instruments  I  have." 

From  H.  Rocher,  Chicago. — "  I  have  used  since  July,  '66,  a  Dallmeyer  No.  2  B,  and  am 
perfectly  delighted  with  the  beauty  of  work  made  with  it.  Nothing  satisfies  me  but  the  very 
best.  1  find  this  to  be  the  best  principle,  for  I  command  here  the  highest  prices  for  my 
work." 

From  J.  S.  Broadway,  Charlotte,  N.  C— "I  like  the  Dallmeyer  Lenses  very  much.  They 
are  increasing  my  business  considerably.  I  think  by  their  use  I  can  increase  my  business 
double." 

From  Franklin  White,  Lancaster,  N.  H. — "  The  3  D  Dallmeyer  which  you  sent  me  is  a 
splendid  one.   It  is  a  pleasure  to  use  it." 


The  Truest  ECONOMY  is  to  Use  the  Best  Lenses. 


156 


FIRST  FLOOR  STOCK  DEPOT. 


EDWARD  L.  WILSON.  JOHN  G.  HOOD.  W.  D.  H.  WILSON. 

WILSON,  HOOD  &  CO, 

MANUFACTURERS  AND  FURNISHERS  OF 

Photographers'  Requisites, 

No.  822  Arch  Street, 

ABOVE  EIGHTH  STREET,  SOUTH  SIDE, 

PHILADELPHIA. 


Having  had  a  number  of  years'  experience  as  Practical  Photographers, 
and  nearly  four  years'  acquaintance  with  the  Trade  as  Manufacturers 
and  Dealers,  we  believe  we  are  in  a  position  to  meet 

EVERY  REQUIREMENT  OF  THE  PHOTOGRAPHER. 

"We  can  supply  him  with  the  best  materials  for  the  Dark  Closet.  "We 
manufacture  the  most  desirable  and  tasteful  Furniture  and  Accessories 
for  the  Operating  Room,  and  supply  Selected  Instruments.    We  keep  the 

CHOICEST  FRAMES  AND  FANCY  GOODS  FOB 
THE  SALESROOM, 

and  are  able  and  willing  to  aid  our  customers  when  perplexed  and  mysti- 
fied in  their  manipulations. 

JUST  INTEODUCED. 

TALBOT'S  FRENCH  RETOUCHING  EASEL 

FOR  EETOUCHINGr  NEGATIVES. 
Please  read  our  f$gg*>  other  advertisements.  "^ft 

WILSON,  HOOD  &  CO., 

822  Arch  St.,  Philadelphia,  Fa. 
14  157 


!  co  yillJU  anu  factoring  fioiip  an  y 

Manufacturers,  Importers  and  Dealers  in  all 

Articles  Pertaining  to  Photography, 


BEEKMAN  STREET,  NEW  YORK. 
73  BOLD  STREET,  LIVERPOOL,  ENGLAND. 


ANUFACTORIES  ! 


WATERBUKY,  CONN., 

NEW  HAVEN,  CONN., 

,  AND 

NEW  YOBK  CITY. 


Orders  receive  our  careful  attention,  and  are  filled 
with  promptness  and  despatch  at  the  lowest  market 
rates. 

SAMUEL  HOLMES,  Agent. 


See  further  Advertisements  herein,  in  Wilson's  American  Carbon  Manual, 
and  the  Photographic  Journals  of  America, 

158 


LATELY  IMPROVED. 


Tie  Best,  Most  Durable,  ani  tie  Most  Reliable. 


It  Dries  WITHOUT  SEAT,  VERY  QUICKLY,  and 
VERY  HARD. 

Warranted  not  to  STICK,  CKACK,  or  PEEL.    May  be  used  for  FER- 
ROTYPES, AMBROTYPES,  or  NEGATIVES. 


Now  used  exclusively  by  the  most  eminent  Photographers  in  this  country.  It 
contains  ingredients  never  before  used  in  Varnishes,  and  possesses  the  following 
merits  over  every  other  brand  : 

This  Varnish  dries  in  a  few  seconds  without  heat  almost  as  hard  as  glass. 

It  is  perfectly  transparent,  and  does  not  diminish  the  intensity  of  the  nega- 
tives. 

Negatives  can  be  printed  from,  in  a  few  seconds  after  having  been  varnished. 

D^3"  It  wilt  not  adhere  to  the  paper  or  become  soft  in  printing. 

It  never  chills  if  the  plate  is  dry.    It  is  equally  good  for  positives  or  negatives. 

It  gives  a  beautiful  gloss  and  brilliancy  to  Ambrotypes  and  Melaineotypes, 
and  will  not  crack  or  peel.  It  is  used  without  heat,  thereby  saving  the  cost  of 
burning  alcohol. 

EXF*  GET  A  BOTTLE  AND  TRY  IT.  _£fl 


Ask  for  MOUNTFORT'S  CRYSTAL  VARNISH,  and  do  not  take  it  unless  my 
signature  is  upon  the  label.  Imitators  dare  not  counterfeit  that.  They  have 
imitated  my  bottle  as  near  as  they  dare.  They  have  also  copied  the  label  as 
close  as  they  dare.  All  that  keeps  them  from  counterfeiting  my  name  is,  they 
are  afraid  of  the  law. 

All  my  Crystal  Varnish  is  put  up  in  bottles  with  my  name  blown  in  them,  and 
my  signature  is  upon  every  label.    TAKE  NONE  OTHER. 

FOR  SALE  BY  ALL  STOCKDEALERS. 

None  genuine  unless  signed  by 

WILLIAM  H.  MOUNTFORT, 

1  Chambers  Street,  New  York. 


159 


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160 


JAMES  F.  MAGEE  &  CO., 


MANUFACTURERS  OF 


HOTOGRAPHIC  CHEMICALS, 


No.  1 08  North  Fifth  Street, 


PHILADELPHIA. 


STOCKDEALERS  ONLY  SUPPLIED. 

161 


A.  M.  COLLINS,  SON  &  GO, 

MANUFACTURERS  OF 

photographic  |§§ard  ||§oards 

OF  EVERY  DESCRIPTION, 


INCLUDING  THE 


Patent  Prepared  or  Cummed 
Card  Mounts, 

FOB  GAETES-DE-VISITE, 

For  mounting  Photographs  without  the  use  of 

PASTE,  GUM,  OR  STARCH. 


WAREHOUSE, 
Nos.  506  &  508  Minor  Street, 


A  full  assortment  of  Card  Mounts  for  the  New  Cabinet 
Size  Photograph. 

162 


TRAPP  &  MUNCH 

CELEBRATED 


WILLY  WALLACH, 

No,  43  John  Street,  New  York, 
GENERAL  AGENT  FOR  THE  UNITED  STATES. 


The  following  most  popular  qualities  are  always  kept 
in  stock : 

8  K.  Rives,  White,  Pink,  and  Blue. 
10  K.  Thick  Rives. 

9  K.  Rives'  Extra  Super. 
8i  K.  Steinbach's  Saxe. 

PRICE  PER  QUIRE,  $2,50, 

FOR  ALL  THE  DIFFERENT  KINDS. 


Samples  and  prices  by  the  ream  will  be  furnished,  on  appli- 
cation, by  the  General  Agent. 
For  testimonials,  refer  to  the  Philadelphia  Photographer. 

163 


3*.  W.  (gdnei  (ffevmik  and  (gheliy  ffh.j 
$P kdadvljikub, 


PURITISH 


wne/iu  and  Q/Unhm 


iy>  ana  <g/  imnn^ 


TO  OZRJDIEjIR/. 


164 


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